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Neel Potgieter

Basic Member
  • Posts

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  • Occupation
    Cinematographer
  • Location
    Paris, France

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  • Website URL
    http://www.neelpotgieter.com
  • Skype
    neel.potgieter
  1. Hello David, thank you for the response. So would it be correct to say that in real world examples, for instance a house interior (without seeing windows), you would lower the ISO to say 400/320ish but still expose "normally" (with an incident reading for example) and then have 1 stop of detail more in the shadow areas; or as another example, say you are shooting a day exterior in bright sunlight, with cloudy skies. You push the camera to 1600 iso, expose "normally" and then you have a stop more info in the highlights. That is the way I understand it currently, but in reality it feels counter-intuitive. A more extreme lighting situation, say for example a night street scene, with the possibility of lighting it, would you lower the ISO (assuming of course that you have some lamp lights/windows in the frame and you loose info in these specular highlights)? Final remark - I think the only time I can see doing this is if I cant light it properly. Or would you use it even if you do have the possibility of lighting the scene to your taste? Kind regards
  2. Hey folks, I'm hoping someone can clarify for me the idea of lowering Alexa ISO when you want more detail in the dark areas of the image. How is this different to filling in the dark area with light? I'm not sure what the process is, for example, I meter at f8 at 800asa. So then I put the camera to say 400 iso and shoot at f5.6, and then I have a stop more detail in the dark areas. But this is assuming that I have enough light in the dark area to read it in the first place no? I appreciate that this may sound confusing, but that is exactly what I'm trying to figure out ; ) Any responses/answers are much appreciated. Neel
  3. Hi Bruce, David, and Phil, Thanks for the replies! I really appreciate it. David, you would shoot 6:5 rather than OG because we would loose the sides in any case? And if I understand correctly, you would do the extraction of the 8:9 and unsqueeze it after, is that right? Phil, with regards to the spherical element, I think we prefer to keep it to anamorphic where possible. For the 1:1 we are not really concerned. This is something the agency will take out after, any part of the frame that suits them, to do instgram commercials of 3 or 4 shots. It doesnt really impact us as such.
  4. Hi everyone, I have a question thats been asked before, but I havent yet found the exact answer. Or lets say I'm not really entirely clear on what the best path is. So, we are going to shoot on ARRI MINI in anamorphic. Some ARRIRAW, some proress for higher frame rate, OpenGate. I plan to shoot OG 4:3 sensor mode. The client wants to take multiple formats from the shoot (car commercial) i.e 2.39:1 for main film, 16:9 extraction for web, and 1:1 for Instagram. We need to convince the client that its totally OK to shoot anamorphic and just extract the 16:9 from the footage. And this is where I am not sure... a) Is it even possible to have a 2K 16:9 image from a desqueezed anamorphic source? b) Is it better to take the 16:9 extraction from the UNSQUEEZED 4:3 and then desqueeze after, and if so c) how can one do that? What is the correct workflow. I assume its better to take the extraction before the footage is desqueezed to keep the max amount of pixels, right???? Any advice will be hugely appreciated!!! All the best to you all, Neel Potgieter dop Paris France
  5. Thanks David, effectively skypanels is probably the most efficient. So lets say 3 that is rigged to the basket. As its a "small" lift, I guess best is to avoid trusses and any added rigging....
  6. Hi ed, we are actually shooting in south Africa. Does this 40' have outriggers? We need to keep a smallish footprint. I was looking at this but I'm worried about the weight bearing: https://www.manliftgroup.com/en/rental/products/5637144934_jlg_600aj So my question is what sort of lamp can I place on it to fill a 12x12 with skirting and still get the arm out say 6m or so...
  7. Yes that's ok. My question is more about what lamps and what kind of lift. Thanks.
  8. https://www.instagram.com/p/Bg9aTrbHXz3/
  9. Here is a picture of the setup I would like. Any thoughts and advice would be greatly appreciated, Kind regards Neel Potgieter DOP Paris, France
  10. Hi everyone, I have an upcoming shot of a car parked outside a restaurant at night. I'd like to create a large soft source just above it to nicely show its lines. I was thinking of using a aerial lift and making a soft box with a skirt, say a 12x12. My question is: what sort of lamp would be good for this? I would prefer tungsten, so a 10K? And the second question is what limits should I look for for ordering the lift. I dont have experience using it before. Here is a pic simalar to what I'd like to create.
  11. Hi all, apologies if this is a stupid question but what is the difference between a dimmer and a chaser? Many thanks!
  12. Hi folks. Does anyone have advice on shooting 120fps with a 90 degree shutter with lighting à greenscreen with 10 space lights and 10K tungsten on subject. I'm worried we would get flicker from the space lights and have a strobing effect on the greenscreen. Any advice or heads ups would be greatly appreciated.
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