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Neel Potgieter

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About Neel Potgieter

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  • Occupation
    Cinematographer
  • Location
    Paris, France | London, UK

Contact Methods

  • Website URL
    http://www.neelpotgieter.co.uk
  • Skype
    neel.potgieter
  1. 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.
  2. 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
  3. 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....
  4. 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...
  5. Yes that's ok. My question is more about what lamps and what kind of lift. Thanks.
  6. https://www.instagram.com/p/Bg9aTrbHXz3/
  7. 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
  8. 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.
  9. Hi all, apologies if this is a stupid question but what is the difference between a dimmer and a chaser? Many thanks!
  10. 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.
  11. Hi folks, I hope you are all well. I have a series of commercials starting October and finishing January 2013, and I'm looking for gaffers and 1st ACs in India (Mumbai) South Africa (Cape Town) and Japan (Tokyo). If you have someone you enjoyed working with and would like to recommend them, please let me know. Many thanks, Neel DP Paris, France
  12. David, just to be sure, are you saying that shoot in REDspace between 500 - 800 depending, and then accept that the RAW file will be underexposed?
  13. Many thanks guys, a part of me was worried about having too much of a discrepancy between the RAW and the metadata files. But all makes sense.
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