Ray Lavers

When I was in the Concordia program Martin Duckworth suggested a puck rock way of doing it. Duct taping many of those glove warming pads to the camera . They work quite well. (this sort of thing. http://www.amazon.co.uk/Little-Hotties-Hand-Warmers-biodegradable/dp/B001GFT6EE )

- You really have to listen to the camera to ensure it's running at the proper speed. If it's not you'll get a over-cranked and over exposed image.

- You should keep your film stock warm because there can be a slight color shift if it's too cold . You can just check the website for the information.

- The lenses will fog up if you go between extreme temperatures.

Have fun and don't die.

Hey I was wondering since the weird Flange distance on the 18mm Prime from the Red lens kit ( Not compatible with the Alexa or c300) Has anyone tried this lens on the Sony F3.

thanks Phil that video confirmed my suspicions of using cinestyle with a lut. I've been using Red Giant's denoiser to compensate for the added noise. In the end there is a bit of sharpness loss.

I don't know about motion - but you could always open it up and search the manual for a 3D compositing section

 

Since you're on a mac (and in Montreal) with the right system specs you could download the Smoke demo from autodesk - it has the Action mode/toolset so it's getting very near to a full Flame in your bedroom ...

 

Nuke is probably what you'll end up with - Shake .... etc..

 

oh yeh and AE - but thats not your 'jam' :lol:

I'm pretty good with AE just not 3d studio max. Thanks though.

The Faux 3d has an interesting look to it .. How cold I achieve this? meaning what program or plug-in should I use ?. I'm terrible when it comes to 3d studio max. AE , FCP motion is more my jam.

Also if it was done in 2d. It looks as if they did a blank slate because the actors seem to pop out.

Hey people,

Thanks a ton for getting back to me so quickly. By cone I didn't explain properly I made that term up myself haha. I mean when a practical makes a nice line up the wall. It happends naturally however I feel like their must be a way of exaggerating the effect. This is a photo from Gregory Crewdson (not a painting). Maybe if i ND the lamp shade with a stronger bulb perhaps I I could achieve a similar effect. I was just curios if there were any specific method that works best. I was thinking of trying some straw maybe to get a good yellowish backlight.

As for moon light, the steel blue isn't bad. I want to stay away from CTB because, it just looks like a ctb gel.

Ray

I'm shooting some interior night stuff in a living space. Using lamps as practicals is there a particular bulb I should use to get that cone effect to come out, without blowing out the lamp shade? Also when faking the practical light, what gel is best to use to get that nice yellow tinge? I'm using tungsten balanced fresnal source to fake it.

When doing moonlight are there any good gels or gel combinations to use? I'm using an HMI source. I have hear of mixing CTB with green.

I'm pretty stressed any help would be much appreciated.

Ray

I also would tent the windows. This is the ground floor, correct? Use 4x4 floppies and lots of duvytene.

when you say "tent out". Do you mean setting a light outside making a tent around it to the window blocking the daylight?

It's mostly a specialty prism ( Cokin makes one for stills: #217 ) used incrimentally across the frame.

It both throws focus......and streaks the image.

 

Pete

a DP i worked with used lenses from reading glasses and played with them close to the lens .. It had that look

Are you actually going through a digital intermediate stage, or are you referring to color correction in telecine? They are different things. It might be nit-picking, but using incorrect terminology leads to confusion.

Yep I'm going through a DI , However I'm referring to the end of the process when I conform my DPX and do my final grade with a colorist at Technicolor.

Not correct I am afraid, the whole point of pushing is to increase the shadow detail. In fact it is possible to lose detail in the highlights if you push process but normally if you are pushing an under-exposed scene the highlights will just increase in density.

Brian

Hey guys I appreciate all the answers, thankfully I was told that in the bolex I was using, it has 2 setting for the filter. I assumed that the 85 was in but actually it wasn't, It was in the standby position . So really I just screwed up on the bolex viewfinder compensation . Nothing a little DI won't fix.

I would just process it normally and correct in the D.I. Pushing doesn't really "save" underexposed shots anyway, it just adds density to the areas that got exposed already, increasing overall contrast & grain as a result.

 

And a 2/3-stop underexposure isn't that bad. The fact that the image is more orange now might be a bigger issue because your blues are underexposed more than the reds.

yeah your right.. It's almost like I'll have to add color to my shadows. or change the look completely. It's a Low key boxing scene. All backlit and top lit with many Diva 400's hanging from a grid... I guess we will see what happens.

Thanks David for the heads up.

PS are you looking for an Intern?

So I was shooting all my none sync stuff on a Motorize Bolex with a lens adapter for Nikon Lenses I had forgotten about the the compensation needed for the viewfinder 1/3 of a stop. The next Day my AC pulls out an 85 filter in the filter holder. Which is 2/3's of a stop.

Now I'm underexposed for all my Bolex stuff for 1 stop

My stock is 500t Vision 3 7219

I have some free time with a colorist from Technicolor, I was wondering should I get them to fix it or push it all one stop in development.

Thanks,

Ray