Owen Cant

Ok sure, I will be doing more tests next week and will try all the shutter speeds available on the sr3. I will also try shooting with a few other alternative monitors with higher refresh rates and compare. The reason we aren't laser recording the digital files to film is that its way out of our very limited film school budget- that would of course be the ideal scenario, but thats a good tip regarding reducing the image to a 16mm area of a 35mm frame. The end goal is to give the finished project 16mm grain, that is more natural looking than any 'digital grain' one could apply in post, or the other technique of overlaying a scan of 16mm stock- both of which don't really look like 16mm to me. Thanks for your help- its helped me figure out what to test next. I'll get back on here with the results, Cheers

Hi David, Thanks for your quick reply. It is a subtle pattern but I think the main reason it may have been hard to view, especially after being compressed for web is that it was in Log. I have just applied a quick Arri 709 LUT and added a lot of contrast to make the effect more visible. It should be quite noticeable now, particularly around 00:30-00:39 https://vimeo.com/manage/videos/878227566 Re scanner- thanks for that tip. I will speak to Kodak/Digital orchard and see what they can do on their side. This was scanned in 1080, so I might ask for a 2K and a 4K scan to compare in my tests. I am also wondering if it is anything to do with the framerate they (digital orchard) are scanning at? I'm thinking I should try and match the speed at which the monitor I am shooting at with the speed the scanner will be scanning at in this case? Thanks for your help much appreciated!

Hello All, Appreciate this is a very old thread but it is very much in the vain of a test I am carrying out next week. I will be testing a technique whereby I shoot an LCD monitor with a 16mm celluloid film camera, which is screening footage that I shot digitally. The desired effect being that the resulting 16mm footage, has everything I shot digitally, but with the look and grain of it having been shot on film. To be specific on the kit: -I will use a grading suite monitor, an Eizo ColorEdge CG3146 -I will be using either an SR3 or a 416 camera -I will use an Arri Ultra 16 prime lens -Provided I can get hold of the stocks I will test 50D 200T and 500T (looking at the different grain) I will display the film i shot digitally in Log on the monitor, as I will be getting a log scan back from the lab, so it will be a Log to Log process in theory. I have done provisional tests already. And I got decent results in terms of grain but there was a moire pattern/or sync artefact in shadow and highlight parts of the image. I have uploaded the tests here: https://vimeo.com/manage/videos/878091516 I find it most noticeable at the start in the shadow on the left, and then towards the end of the clip in the sky highlight on the left. In my next tests I hope to eliminate the wave pattern. I have been speaking to a number of technicians about how this might be at all possible. The recurring answer is that its not possible to sync a 16mm camera with such a modern monitor, however I wondered if there is another workaround? Another option that has been suggested to me is to use an old CRT monitor, where it was possible to sync a 16mm camera via a speed/sync box? My issue with that though is that the image will be much lower quality than being displayed via the Eizo monitor. Also, before it is suggested- I have looked into Digital-Film-Digital services as offered by Cinelab in London, but unfortunately that is well out of our budget. Also I am curious to explore if this DIY method will work just for the sake of exploring. Look forward to hearing any thoughts/insights

Hi all, I have a shoot coming up where I may be shooting in a boardroom full of glass. Myself and the director have a few shots planned where we will be looking towards glass directly in front of camera whilst tracking laterally and panning. So I am anticipating getting into reflections hell and planning how to negate this. My instinct is: -Use a rota pola -black neg/black drape the entire wall behind camera/dolly -cover the whole dolly, camera and accessories and their LED lights with black bolton/blackout cloth But wondering if there's something I am missing or certain moves/angles I should avoid- perhaps so that they reflection reducing effect of the rota pola remains consistent despite the camera moving. Photo of location attached. Just wondered if anyone has been in a similar situation and has any tips? Cheers :)

Thanks Mark- good to know. We do have budget for the removal & replacement of the windscreen, and we have 6 pages set in the car, so just weighing up whether it is worth doing so or not

Hello hive mind, I am looking for some advice- I have a 4 night shoot set in a petrol station coming up. Shooting on 16mm- 500T /25fps /180. I am aiming to rate it at 320asa with a stop of around T2.8 on the lens. My first question is what kind of fixture you would replace the overhead, garish floodlights with- would you aim to replace the bulb itself, if so what with? Another option would be to just turn them off and rig fixtures that mimic overhead light but aren't as green as the LED's. A third option I'm considering is just gelling the glass of the overhead fixture, with minus green to get the light to a more neutral colour balance, using my cinemeter 2 app to work out what the compensation would be. I have attached a still taken from the cinemeter app which gives an idea of the colour of the lights (however this hasn't been properly calibrated and I would be interested to hear from people who have used the app how reliable it is?) Another question is- if I was to leave the lights as they are, what do rushes with an overly green spike look like? What do the skin tones look like? A separate issue is the reflections I am getting on the car windscreen. I aim to avoid these by using a 12x12 black overhead, and a Pola filter too if need be. I am also looking at removing the windscreen- for shots that are framed 'within' the windscreen if that makes sense. I will get a test day but its unlikely to be at the location. I have attached reference photos for the things I've mentioned above. Warm Regards, Owen

I like the shots in the shower, they've got a lot of feeling to them. Also the shots in the forest look good- like how you used the texture of tree bark. I notice you're using different cameras/formats? Some of the higher quality stuff (in terms of picture quality) stands way out & makes the other stuff on your reel not have as much impact. Also the interrogation scene could be more dynamic, the lighting feels a bit flat. then again you could light an interrogation scene flat for ironic effect? N the track over the bed scene is a bit dutch- is this for effect? Also if you are using a dslr on a glidetrack type thing, I would use a stabiliser in post to smooth the move out- I've always found those things impossible to do a smooth move on unless you've got a motorised one or surgical grade steadiness in your hands Im just in the process of finally editing my showreel after shooting my own stuff for the past 2 years, I'll put it up next week and would be great to get any feedback if possible! Not sure if this helps or not but for my edit, to pick out shots i've categorised my work into areas i hope people will pick up on when watching- especially industry people & colleagues-, such as -developing shots -high-key lighting -low-key lighting -handheld -tracking -day/night int./ext. ....etc cheers

£10,000 for 6 months!! :unsure: & no entry requirements other than the cash- is this not just a course for rich kids buying their way into the industry?

Hi Hrafn, I just checked out your showreel, looks good mate, some really nice stuff on there! How did you end up cutting your 15min showreel? And have they got back to you yet? I'm in the process of putting my website & showreel together, and looking to apply next year (for the first time), to start in 2015- I'll have it online in a couple of weeks hopefully so will put it up on here. I've volunteered as a camera assistant on short films for student dop's on the course at nfts, and from what they said, in terms of the cut of the showreel, the tutors like to see a selection of entire scenes or short films- depending on duration- rather than a montage reel to music. This is so they can see how the cinematography supports the narrative rather than 'best shots' of various work. Cheers

Hello all, Im wondering if any of you, particularly lighting gaffers & qualified sparks are able to offer me advice on the following. I am on a location shoot for three days next week on a very low budget. The only available power source at the location is 150 metres from the set, in the form of 4x 16amp sockets on separate rings. I want to run 4 separate lines of power to the set as I will need up to 10K. I am trying to work out what the power loss due to cable resistance would be if i used 16A cables for each line (cheaper), or 32A cables (less resistance i assume?) I am weighing this up with hiring a portable 10K generator instead. Has anyone rented one of these before? And can reccomend a model & hire company in the north west? Also, I had planned to use HMI's 575/1.8/2.5, does anyone foresee any issues using these units plugged up to a genny? Or even to a very long cable run? Apologies if this is a novice question for some, Kind Regards Owen

Is there a particular reason why a 2nd AC might spin the board after clapping? or is that just if you're bored/having a laugh. Was just curious after watching the following hilarious video about slating, and noticed that on some takes the board was spun upside down after the clap... Best, Owen