Stuart C

Hi All

I have been reading up on greenscreen lately. My understanding is that you need the colour to be an even green in order for the keying out to work. So in a film such as Harry Potter where they wear the invisible cloaks how is this achieved? Don't the dark shadows created by actor moving in the greenscreen cloak render those sections black and unusuable?

Thanks

Is there a safety reason that you can't have your actor there on location climbing over the rocks? Because you're talking about hauling a jib out to the middle of Australia and flying it over these rocks; why not just have your actor actually there to do it? Something isn't adding up.

The background plates will be shot all over place, in extremely remote locations up to 500km apart. The plan is to shoot the plates out there and shoot the live action in a studio. We can afford to have a small unit travelling on the road shooting the plates (5-6 people), but not a full size crew. The actor on the rocks scenario is one example of many different shots that will be in the film. If it were just the one shot, then obviously we would take the actor out there.

At this stage we may still do it all on location, but I'm weighing up the options at present. We probably can't even take rocks from the locations as a lot of the sites are in National Parks!

Thanks...

I agree with Scott.

 

YOu wont have to recreate the subtle interractions of the actor stepping on the rocks. The more live elements u can include in ur bluescreen shoot, the more convincing it will be, BUT make sure the lighting matches ur background plate...

Thanks for the above tips. The background plates will be shot in remote areas of Central Australia so i will have to look for a similar rock type for the studio shots close to Sydney where I'm based.

Another question, what is the method (if there is one) for compositing two jib shots? Using the above example, if i had a jib shot moving across the rocks on location in the desert and wanted to composite a second jib shot of an actor running over the rocks shot on bluescreen in a studio how is this achieved? Assuming the lens type and lighting is the same...

Thanks...

btw- will update my username shortly

Question re Visual FX.

How do I 3D composite live actors onto rough terrain? Eg, If I shoot a desert landscape with rocks and boulders as a background plate and then shoot an actor in a studio on a bluescreen with the intention of compositing him climbing over the rocks, how is this achieved?.

I have seen on "making of" docos people using bluescreen blocks to simulate tables, chairs, stairs etc to be textured later using CGI, but for surfaces that are not linear such as rocks is there a method of doing this? Building bluescreen rocks to match the plate seems incredibly time consuming and I am sure there would be issues with shadows.

Can anyone help me with this? I'm new to this area of film.

Many thanks,

Stuart

PS. I'm aware this is not specifically a Visual FX message board and is slightly off topic. If anyone can point me in the right direction for a more relevant board I'd appreciate it.

A dub facility has just told me there's a problem with my film because there is both upper and lower field dominance throughout. I need to remedy this quickly for a variety of reasons i won't go into.

First of all, i need to confirm in Final Cut Pro all i need to do is change the settings of each clip so they're all the same...and being PAL 25fp mini HDV it needs to be "Lower Field" dominant?

or...if i deinterlace the entire film will this eliminate the problem?

Need to sort this one out ASAP.

Thanks everyone

Hi,

Can anyone tell me the approx weight of a 14 minute 35mm film + reel in a solid flight case?

I know from a previous post the film on its own it's approximately 2 kg metric.

Thanks

Thanks for the tips.

I was really just curious is anyone had attempted to do it. I won't be!

Cheers,

Stuart

Hi,

I've just about completed a short film shot on mini HDV (16x9 PAL 1080 50i) and looking to transfer to 35mm.

I have obtained quotes both here in Australia and Overseas from various transfer facilities and found the process to be very expensive.

I am wondering if anyone has attempted to transfer video to film on their own using a projector/monitor and a 35mm camera. I have attempted this before with SD video and Super 8 and had quite good results.

The plan would be to convert the mini HDV master to HDCAM 24p and screen on a HD Monitor. I would then film the monitor, taking one frame at a time before processing.

I've estimated this method would be about half the cost of having it transferred at a post production house.

What are some issues that may arise? Is this feasible or an 'experiment in terror' ??

Thanks,

Stuart Clegg

Hi,

What is the best way to shoot the midday sun without damaging the camera? What filters do you need? NDs ?

(Camera is a Sony HDV Z1)

Thanks,

Stuart Clegg

Hi,

Is someone able to tell me the approx weight of a 10 minute 35mm film (inc reel)?

Thanks,

Stuart Clegg

When capturing interlaced PAL video shot in HDV 1080 on a Sony Z1 into Final Cut Pro 5, what should the Field dominance bet set to- upper or lower? Is field dominance determined by the camera you shoot on ?

Thanks and Merry Christmas...

if you hope to one day make films professionally all of the above will be necessary...it's worth it for the experience.

Also, your cast and crew aren't going to be too thrilled if you're closed down and told to move on...will they show up to your next shoot ?

Hi

the manual for the Sony HDV Z1 claims is it 1440 x 1080 16 x 9...but when you do the math:

1440 / 90 = 16

1080 / 90 = 12

which gives a ratio of 16 x 12 aka 4 x 3...

can someone please explain how 1440 x 1080 resolution is 16 x 9 ?

thanks,

stu

I'm shooting a low budget short and need to simulate moonlight on a quiet country road at night.

Any tips? We'll most likely have a few redheads, fresnel (+ a generator).

Thanks

Use a large, soft, warm single source. It'll add curvature to their bodies and create shadows to help hide 'flaws.' The actresses will be pleased with you.

<{POST_SNAPBACK}>

I remember reading when Kubrick did the nude scenes with Kidman & Cruise in 'Eyes Wide Shut' it was only the three of them in the room -he operated the camera.

Look forward to seeing your film!

Which is preferable a camera with a true 16x9 chip or a 16x9 Lens adapter on a 4x3 camera ? Is there a big difference ?

thanks

Another poster mentioned that is essential when shooting HD to view the image on a HD monitor. I'm wondering why this is so ? Why can't you simply monitor in standard def?

thanks

Hi,

I am about to shoot a short on HDV mini dv and have noticed some festivals accept films for exhibition on HDCAM tapes.

Is it possible to transfer from a HDV mini dv to HDCAM directly for exhibition or are there issues involved ?

If it helps, I'm shooting on a Z1 PAL at 25fps in the cinematone mode.

Thanks.

Hi,

Does anyone know the approx cost to convert an Eclair NPR to Super 16 ?

Can anyone recommend a company to do this?

(I live in Sydney, Australia)

Thanks,

Stuart Clegg

does anybody know an example of a film that skipped the bleach bypass process?

<{POST_SNAPBACK}>

Hi,

Thanks to everyone for the above info.

The film I've mostly been looking at is "Ned Kelly"- Australian film with Heath Ledger. DOP was Oliver Stapleton- good article about BB written by him at this link:

http://www.cineman.co.uk/bleach.html

cheers

Hi All,

What are your thoughts on bleach bypass with 16mm (or Super 16) ? Is it considered a no no due to the smaller frame size?

Thanks,

Stu

Hi,

 

Has anyone transferred vision shot in 16:9 HD mode on a PAL Z1 transferred to 35mm ?

 

What settings did you use ?

 

How did it look ?

 

Any comments on what we need to know before shooting ?

 

(Company I am looking at using is Swiss Effects in Zurich)

 

Also, I have access to a HD Edit suite with a HDCAM VTR (HDW M2000P). Is it possible to dub from HDV mini DV to HDCAM to allow editing in the HD suite ?

 

Thanks,

Stuart

<{POST_SNAPBACK}>

Sorry...it's the FX1 not the Z1 we are planning to use...

Hi,

Has anyone transferred vision shot in 16:9 HD mode on a PAL Z1 transferred to 35mm ?

What settings did you use ?

How did it look ?

Any comments on what we need to know before shooting ?

(Company I am looking at using is Swiss Effects in Zurich)

Also, I have access to a HD Edit suite with a HDCAM VTR (HDW M2000P). Is it possible to dub from HDV mini DV to HDCAM to allow editing in the HD suite ?

Thanks,

Stuart

Hi All,

Question re a short film i am producing (the film is to be shot on 16mm, telecined, digitally edited and finished on digibeta).

After the film has wrapped and in one hand I have the cans of film and the other a bunch of DAT tapes. What is the best way to sync them together.

Thanks,

Stuart

Has anyone tried projecting video onto a white wall/ sheet and filming it with a 16 or 35mm camera?

I've done it the other way around with some success (videoed projected film) but am keen to hear from anyone who has filmed projected video...

I assume there may be frame rate issues (im in Australia so it's PAL 25 video)...

Would you film each scene separately and use a light meter ???

Thanks,

Stuart