james mcpherson

no way, been using this vid from youtube for research, am doing some work with a kinect for a project. nice work. would love to speak to you more about how you did it

i have this package for sale on ebay at the moment, includes the ultra rare kowa 8z anamorphic lens with a custom built 52mm convertor/attachment

http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=350467924845&ssPageName=STRK:MESE:IT

id rather sell it to someone here so if anyone is interested get in touch

sorry but i dont think i can help you'd have to ask Paul Greengrass!

in the UK we have pretty much one guy who sells bolex stuff, he's written a guide called the bolex bible . he mentioned to me that the AR lenses cannot be used on a REX-5 /reflex model bolex because the thread is deeper than the specifically designed RX series of lenses. this didnt sound right to me because ive read that ll c mount lenses have the same thread and you just meter AR lenses at 1/80th of a second on a reflex model

thanks

j

http://www.ukscreenassociation.co.uk/news/...les.htm?aId=982

double negative won a ves award for COM, we did most of the transitions. theres probably more info dneg.com

http://www.vimeo.com/8989438

i didnt see any visual effects in this reel, it was all graphics and a bit of grading .

You need to stop down to get the correct DOF, but if you shoot at very low frame rates, you can increase the per frame exposure time so that your light level is not overpowering the lights in the model. Or shoot the city lights in a separate pass / exposure than the overall lighting.

thanks for everyones replies !

Love the grain in the trailer, looks very gritty and organic. That said, if they did a DI then it could have been enhanced in post. Ironically, I've found it tricky to get this kind of look on a super low budget because there's no margin for error.

 

James, if and when you are able to talk about your work, I'd love to hear about what kind of post work went into enhancing and/or maintaining the film's grainy look.

ill let you know !

Take a look at this thread: http://www.cinematography.com/index.php?sh...mp;hl=miniature

what im finding hard to get my head around is if i have to stop down to a pinhole / f22 to get an even depth of field , and have the model extremely well lit , then how am i going to acheive a convincing 'night time' look in post reducing the exposure and grading it in shake will get something close but it wont be the same... i guess its finding a compromise and doing tests and the larger i make the model the less i need to light it . i was just wondering if i could somehow light the model for a night EXT

would love to get some recomendations on reading material apart from the ASC manual

. id like to shoot a cityscape , gotham city esque so any advice on lighting/shooting miniatures for night too would help

cheers!

j

i spent a year working on this at double negative as a roto/cleanup/junior comp . dneg was the sole vfx vendor on it. we have to sign NDA's and our jobs are always on the line when it comes to loose talk. all i can say is go and see it , its brilliant!

im trying to get votes for my pitch, if i win ill be flown out to new zealand next week . deadlines tomorrow . to vote for my idea and watch my pitch simply visit and hit the vote button

http://www.your-big-break.com/entry/12388

thanks

james

i need a replacement lid to the film compartment for an ebm , any model of 16mm bolex should fit it i think, anyone got one knocking around they have spare and dont need?

i recently acquired an ebm , it needs a bit of an overhaul , the camera body itself is fine , prism is clean and motor functions . unfortunately the battery it came supplied with is on its way out so it will need a new battery , and the lens it came with ( a vario switar POE 16-100mm ) is a bit dodgy so is beig sold as spares or for repair . the door to the camera body/film compartment is also broken and will need replacing or fixing ( you could just stick a door from any other bolex on it )

the full kit includes

one bolex ebm body ( broken door otherwise good condition )

pony handgrip functioning fine with 2 battery hole covers ( slight cosmetic damage to plastic on handgrip in the form of a crack/ tiny chunk missing )

ebm battery charger with 7 pin xlr cable ( works fine )

set of 4 filter holders and assorted kodak wratten filters

octometer viewfinder

2 old batteries for ebm handgrip ( seem to be dead but will included for spares/repair )

1 broken vario switar POE 16-100mm lens ( exposure meter/auto zoom not functioning ) and aperture doesnt close fully . focusing ring also seems very loose

2 bayonet mount covers

a couple of empty film spools

1 brand new tobin crystal controller i bought for $270 from Du All camera NY

1 aluminium case

i bought this kit off ebay for around £500 it was described as in good condition but unchecked so i kind of feel a bit ripped off , and i dont wish to do the same to anyone else. id like to restore it all and get it all fixed up but im not sure if i have the time or money so id like to see if theres anyone else out there whod be interested in taking it off my hands , am open to offers. would suit a student or low budget film maker.

am based in London .

..... Arriflex 35-3 Video door

Eclair NPR motor( Eclair 16 "Coutant")

10 mm Switar in C mount.

PL rear caps ....it's on eBay

 

No sale outside eBay.

i was going to have a bid on the 10mm , would like the tripod head too but a bit expensive for me unfortunatley

so ive got an old bolex h16 and a set of rod supports, if i wanted to use a follow focus with some of the switar range of lenses how do i go about matching the gear threads to those lenses? ive seen the zacuto website has a few bits and bobs on there but i dont really know what im doing can somebody take me through it?

thanks!

i spent last christmas in Toronto it was amazing =) id def like to work out there one day

hiya

i guess you could do a 3d takeover of the ball exploding , youd need the various set info such as the distance of the ball from the camera its dimensions, angle its filmed at height from the ground type of lens used and one of those mirror ball things to show the lighting so you can match things up like positioning lighting etc in maya or a similar app

it might be hassle to line up a practical effect plate of the ball exploding not to mention rigging a ball to explode you could try going down that route anything you can do practically is always better if your going for realism. just make sure you shoot it from the same angle on a locked off camera same distance same lighting etc

if your removing the ball just shoot one plate with the actor kicking nothing(the cleanplate) and one plate of him kicking the ball (your original) and make sure they are both lit the same and the camera is locked off and try and get the actor to be as careful as possible to replicate the same moves. do a few takes to be sure you have a similar action and choose the best one , when it comes to removing the ball you may have to do a bit of warping or cheating to get the two to match up but if its a fairly fast bit of footage youll get away with it , just work on the principle that your trying to get your cleanplate to match the original as closely as possible and make the patch your replacing as small as possible to keep the original detail of the plate in there .

hope that helps

j

Hi there!

 

I'm in pre production on a commercial that's set to shoot in a couple weeks. I've never worked with compositing outside of some minor green screen work, and we have a subtle effect that's got me a little stumped. At the end of the commercial, our principle picks up a cherry ball (about the same size or slightly larger than a bowling ball) and kicks it. Rather than sailing into the air, it explodes right on his foot.

 

I'm wondering what sort of methods are available for me to composite, what should I shoot in regards to background plates? Do I have the actor kick the ball, then do one with no ball, and then a clean plate? Do I shoot green screen of the ball exploding in an exact frame match from the location footage? Is this the sort of thing that's best left to CG?

 

Does anyone know of any reasonably priced effects houses in town (I'm in Burbank) that might be able to help me out?

 

Thanks a ton!

 

-Nick Harris

 

 

www.sunspot-pictures.com

cool. well nows a good time scott we are taking on a huge amount of extra peops for a new show its all very hush hush but if you contact HR then i know theyre looking for people.

i hope to get out to Canada one day i have some mates at CIS in Vancouver Tim. Ive got a few mates in Toronto i would dearly love to work there one day

vfx supes senior compers junior rotos producers , just interested to see how many members we have who work in the VFX industry? why not introduce yourself in this thread? i'll start im at Double Negative, London , roto/prep artist been there for 2 years!

"The lens mount on the H-8 REX was the same 1" thread diameter as found on the standard C-mount of the H-16 and other 16mm cameras. However, the optical distance between lens seat and film plane was 15.305mm (compared with 17.52 on 16mm). [2] The lenses designed specifically for the H-8 Reflex were identified by the letters "H8 RX" inscribed on the lens barrel"

bolex collector.co.uk

i guess my question is can i use these on my h16 rex5 and what effect will this difference in optical distance between the lens seat and film plane have ?

j.

heres my rex5 recently acquired from ebay . i managed to get the last tobin motor in stock at duall in new york. im a total newbie to cinematography and cameras, ive been to film school but went down the compositing route. so this is my first camera ! still learning how to use it ! the main things which strike me are how difficult it looks to focus with that tiny viewfinder , and how noisy it is when running !

Hi Jean-Louis

it is a mix- heavily customized camera:the inside mechanic comes from a DS8 round base, the chassis comes from a 16mm SB. i take the 1:1 drive gear from the mechanic of SB, so i can mount an ESM motor. moreover i widened the shutter angle from 170° to about 220-230°, untill maximum permitted by pull-down movement, gaining about 1/2 f-stop. the spring motor is removed, so the camera runs only with electric motor. i removed the friction-speed selector too, that was very noisy, now the camera runs like a fly. Gate widened to MAX8 by the way.

Regards.

Roberto

so what does the friction-speed selector do? what are you losing when you take it away? know anywhere who'd do this for me?

thanks

jamie

thanks Dave and sorry for my dumb questions!

thanks ! so why do you get the vignetting and i take it theres no way to eliminate that?