Hugh Wei

Does anybody know any lenses that give vignetting?

Last time i found a zoom lens 25mm-250mm cooke varotal(10:1) T3.7, whcih gives very nice vignetting. but wuold really like to find a few more to compare their look.

cheers

I have a shoot coming up, which director really like to create the banded or wavey images.

I always believe the best way to do it would be have the set built in banded shape, but He would like a movement apply to the banded or wavey images.

so far the best way i could think of, is the use of tilt & shift lenses on banded set to enhance it's misshape. but i don't know how distorted it can get by using tilt & shift lenses. still need to test it out.

would really like someone to help me out here, because it seems like some kind of special effects but not wanted to be done in post. so would be very much appreciating any suggestions.

cheers

Hi guys

Does anybody know any rental houses stil selling Lens Handle.

I was on a shoot last week, and did not realise my Lens Handle was gone, and since it's such an old product, i can't even find a place to buy one.

Please, if anybody know where i can get one, i would absolutely appreciate

We did not do a skip bleach nor have we timed the footage yet, but this is an example of the Eterna 250T with Antique Suede (don't remember which grade). We will be doing a DI, this example is a one light for editorial. Go to www.chrisburke.net and click on the "Gates Clips 2" link. Just thought I would show you what this stock looks like. I can post other examples with higher contrast if you would like.

 

Chris

Hi Chris

Would be greatful if you don't mind post other examples with higher contrast. and I was trying to open those clips, but is there a specific programme i need to run, becuase somehow i cann't open them.

Hugh

I don't get it -- the Fuji Eterna series has a slightly flatter look than the Kodak Vision-2 series, but that would be helpful when doing a skip-bleach because of the big increase in contrast that occurs.

 

Sure, you can skip-bleach the F-Series, except that now there is only 64D and 125T available -- 250D, 250T, 400T, and 500T are all Eterna, and older 500D is too grainy. But I think it would make more sense to skip-bleach Eterna than the higher-contrast F-Series.

 

My only experience with negative skip-bleach involved using the low-con Fuji F-400, which came out great, so I don't see why you are so concerned about Fuji vs. Kodak when both are so similar these days and skip-bleaching produces such a non-standard look anyway.

 

Basically if you want less grain, use a slower stock, and if you want to minimize the increase in contrast, use a less contrasty negative stock -- this holds true whether you are using Kodak or Fuji.

 

People say that Kodak has more "flexibility" because the Vision-2 stocks are low in grain and have a wide exposure latitude -- well, if that's what you want, then the new Fuji Eterna stocks have the same improvements and perhaps even a wider latitude (lower contrast.) Wide exposure latitude and contrast go hand in hand.

Hi David

Thank you for sharing your thoughts. I suppose, the reason i go for bleach-by- pass is to create higher contrast and desaturated looking, and i kind of stuck to the notion that the flatter stock will clash with the purpose of Bleach-by-pass.

it certainly make more sense to shoot on flatter stock and skip bleach by pass. I am doing some test in a week, so i will just find out what's the look of each stock then.

Hugh

Lot people told me the great performence and flexibility that Kodak film stock has for post.

as much as i love Kodak, I would still need to ask a bit opinion on Fuji film.

personally, I have never done bleach by pass on Fuji film, however, I do wander how it would turn out.

I am not keeping much faith on Eterna series for bleach by pass, the 5 stop range lattitude....

I shot a short on it once.... it looks flat (personally, like high contrast)

Fiju F series has good contrast and colour.

has anybody bleach by pass fiju f series film

HU

Hi Everyone

I'm shooting a film in a month. I am very interesting in high contrast, rich black, a bit desaterated colour. therefore, the option would be bleach by pass, but is there any film stock which is specifically good for bleach by pass, or a stock that you use and think is great. personally, i am a big fun of kodak film stock, however, the production has better access to fuji.

would appreciate any personal insight or suggestions

cheers

Hu

It's mostly to do with where the country is in relation to the equator. Places like northern europe, South Africa, etc are quite far from the equator so even in the middle of the day, the angle of the sun is quite pleasant. In addition, the light passes through more atmosphere and gets subtlely diffused along the way. Contrast that with LA where midday gets you harsh toplight,

This is brillient information, I'll work from there.

Thank you all from all these information.

Hu

Hi

I'm doing my research about light quality change in different countries. I read a article, and it says light quality changes in different countries, they believe each country or area has its own charactoristic lights. I'm very interested in it. would like to know where can i find some information about it, or if there is anyone who can give me a bit information, would be really appreciate.

regards

H

I have been discussed this effect with my friends for a while. but shame on my knowledge isn't deep enough to provide the answer.

I know, how it's been done in Schindler's List. but can you make the colour faded instead of B&W, and make one colour (Red, Gree....etc) stands out.

Can you make it in processing or post-production.

would be really appreciated, if anyone can help me.

regards

Hu

If you want the tunsgten-lit scene to look "a bit" orange, it would be better (in my opinion) to use tungsten stock and add some orange (or straw) color to the lights, or add a filter (say, a 1/4 coral) to the lens.  Shooting a daylight stock under tungsten lights gives a certain type of orange that goes beyond the "bit" you might be looking for.

 

Just one view on the matter,

 

Jonathan

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Thank you very much

You're being very helpful. sorry about my silly questions. It's my first time to work with actual film, i did couple of super 8 before, but it did not occur to me that much :P .

No, you're not stuck with anything. You can put a filter on the lens that will correct your light sources to the right color temperature. Or you can put filters on your light sources.

 

For example with tungsten stock you can shoot with tungsten lights without correction, and you can also shoot exteriors with 85B filter (5500K -> 3200K).

 

And nowadays you can correct much in telecine if you are transferring to video.

 

The point is, though, what you will want to look "neutral" in terms of color balance.

 

It makes sense to use tungsten stock even for exteriors, because daylight stock loses a lot of speed when corrected to tungsten and on exteriors there is usually enough light for slower speed films. If you want to only use one stock, it's a sensible thing to pick a tungsten stock. But of course, it depends :)

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Hello Riku

thank you for your answer.

So I can just use tungsten film stock with tungsten lights which will basically provide neutral colour and with the usage of gels on lights can add the colour i need. Is that right?

If i would like the scene to be a bit orange, i could just use daylight film stock with tungsten lights which give the same effect as using tungsten film stock with orange gel on lights, isn't it?(Please, correct me, if i'm wrong)

Hello

I have a very very stupid question need to ask.

If i use tungsten stock, do i have to stick to tungsten lights?

Because some people told me tungsten stock is for exterior, and daylight stock is for interior.( somehow, i just don't see the sense in it)

because i'm making a short film, but i only have a red head and a blond head, so i don't know what sort of film stock should i use.

hi again-  shooting only a stop over won't blow out anything, it will just give you a richer negative- you would have to overexpose over three stops to start making a real difference, but then, you could also just shoot clean and have the magical telecine person give you a great, contrasty blown out look.

 

(thanks, jonathan!)

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This is the question i always have, but perhaps that is just because i have been doing photography for too long so can't get it off my head.

I always figure if i have film underexposed 1/2 stop, it gives better contrast and colour, and it actually is. but i 'm not sure if this theory work on motion picture as well or i'm just trying to be a smart ass. if it's not in what range of stops is the most acceptable exposure range

One more question

Would it be possible to have different aspect ratios done in production instead of post? like that sort of mask put in front of the cameras to create wide screen looking.

my tutor he is an experimental filmmaker, and perhaps it's the reason why he admires Arri ST so much. and i'm so sure he meant Arri ST...becauce he said he had one, I doubt he could aford one.

one more question. so which lenses you recommend to go with Arri BL. there are less lenses that match BL since it's as old as my dad.

Couple of q's need to be asked:

1. talked to my tutor, it was suggested that Arri ST is highly regarded in the industry but should i compromise the quality by getting the Arri BL?

2. IS there any function that the BL has but the ST doesn't have?

3. When you look through the view finder, out of the two which one is more clearer or easier to focus with?

4. Does anyone know from experiences which one would be best suited for producing student short films.