Jump to content

Manish Singh Baghel

Basic Member
  • Posts

    10
  • Joined

  • Last visited

About Manish Singh Baghel

  • Birthday 03/21/1990

Profile Information

  • Occupation
    Cinematographer
  • Location
    MUMBAI, INDIA
  1. Hey Chris, sorry for misunderstanding. here is the problem when I try to change it from Aperture priority to Shutter priority (which it is showing on attached picture)in ambient lighting mode it doesn't change on that it goes to other modes.however, Initially it was in shutter priority.
  2. I am sorry if you couldn't see the model no. although it was written as the detail of topic. however, it is Sekonic L 758 cine. I have the manual. Its not working the way its written in manual hence i used the word "Problem". I hope you understand the terms written in the post. because the way you have approached its doubtful. For your Reference the image of screen is attached. The 'Sun' icon on the left corner represents the Ambient metering. 'T' stands for Shutter an 'F' stands for Aperture. In the Image its on Shutter priority mode. And hope you understand the seriousness of this forum to use such language. Anyways, Thanks.
  3. Hi, I have problem in shifting from Aperture priority mode to shutter priority mode in ambient metering mode. How to troubleshoot it? please help.
  4. http://lensbaby.com/ find this kit it will be helpful to get the desired effects.
  5. Yeah Instructions were there but as you said it correctly it will need more practice. Thank you Travis.
  6. Hi, I have a canon 5D with 24-105 kit lens and 'Fly Cam-5000' Camera stablizer. can anyone describe the process of balancing this? Any guidance is much appreciated. Thank you
  7. François Truffaut and Akira kurosawa both are the master of modern cinema, the style of film they made are still seems contemporary after 50 years. Truffaut’s 400 Blows (1959) and Kurosawa’s High and low (1963) both were shot in widescreen (Aspect ratio of 2.35:1). 400 blows is the first French film to use widescreen. The use of cinemascope (i.e. Widescreen) adds up in the narrative structure of both the films. In 400 blows wide screen is used to emphasizing in the character it also enhanced the Mise-en-scène in the frame. From the framing of the very first sequence of Eifel tower to the last sequence of the Sea beach, every frame has nice composition in it, especially the PT sequence from the roof top angle. The other sequence which were enhanced by the wide screen were when Antonio was running with his friend in the street, when they were outside a shopping mall, the spinning sequence, the sequence of the little kids watching puppet show , the extreme close-up of Antonio’s mother when she has come to meet him in remand home, and the beautiful landscapes in the background of Antonio when he is running away from the remand home, in all the sequences we can see everything but emphasis from the character wasn’t going. Whereas the use of cinemascope in Kuosawa’s High and low was very much like a Noh theater’s stage in the interior sequence while in the exterior sequences it showed the whole industrializing Japan , the slums the factories, the chimneys that was on other hand was juxtaposed by the Mt. Fuji other landscapes(from bullet train) etc. the composition was similar to the Noh theater where there is main stage central stage and the background stage and characters are spread all over the stage still viewer’s can see each of them from their respective positions. Each character was given equal importance. By the time of High and low widescreen was quite popular in cinema.
  8. What are the similarities and difference in the ways in which Truffaut and Kurosawa use cinema-scope in the movies 400 Blows and High and Low respectively?
  9. hi, every one i was wondering if we can attach external mic. in the Nikon D3100 to get a better sound quality? plz reply ASAP , thankyou
×
×
  • Create New...