Jump to content

Brian Alan

Basic Member
  • Content Count

    15
  • Joined

  • Last visited

Community Reputation

0 Neutral

About Brian Alan

  • Rank

Profile Information

  • Occupation
    Student
  1. I will check that out as well and start learning, but actually thats not what I was going to do. I want the girl dancing with the light and the light staying frozen in the air, because I'm using a strobing led there will be individual dots in the air, then I can go in and slowly take them out one by one, thus having a moving light pattern in the air. There are some examples with junk cameras they used in these videos. It can work with HD and non of these videos did anything with lighting or camera setup to get different looks. I sent you a PM chris with a link.
  2. Not everything in the world is about after effects. :) An organization out of the UK came up with a new software thats kind of the equivalent too long exposure photos for film. I would rather not give away the use for it as I think it would be wise to keep it with my self. I need one camera capturing the normal footage and one inputting into this program at the same time. It's not a filter, it needs to be done with recorded image at the same time you acquire the footage. Thus I need to use a beam split setup. I will ALSO be using after effects and rotoscoping too remove areas that I don't want the effect applied too, but I can't do it if I don't have two versions of the footage. :) I have a friend thats is good with machine/tooling work who would assist in the construction.
  3. Thanks for the link too Anchor Optics, they have what it looks like I would need (cube splitters from 35mm-50mm). finding the tube is going to be the trick or maybe I could just make it out a sheet metal box. Sorry for the double post if a mod could delete the other one in camera accessories that would be great.
  4. I didn't see an answer I thought I had made a post but I couldn't find it for some reason. Anyway, I know it doesn't "include" a lens. I meant that I would like to make or purchase a splitter so that I could capture two of the same image with one lens. One lens with the image directed too two sensors. So I could say have one PL mount then a splitter behind it sending the light to two GH2's. I know that there are in front of the lens splitters (like the ones in current use for 3D) and then there are the prism style splitters "behind the lens" style, again I know it's not an actual part of the lens. I was thinking a three way tube style system. Pretty much a system that would allow you to have the male ends of the GH2 fittings so they twist on, then a female PL fitting. Then a rail system to hold everything in place. Crude drawing...This is what I mean.
  5. Does anyone know of a beam splitter available with a prism behind the lens? Old Bolex cameras used to use them for the view finder. Working on a project and I was researching the idea. It wouldn't be for 3D purposes at all. Actually it's for something a little more experimental and a new effect/idea (and no it's not HDR). Any information would be great. If I have to create my own I'm willing too.
  6. Sorry for the triple post, I notice it looks like Ron Frick did have a few shots that looked like they were being slowly shifted but I think it's also that play on light effect that makes everything look like it warps a little, so beautiful. He has such interesting shots, man 70mm...
  7. I'm trying to gather some information on how to build a behind the lens beam splitter. I have been looking at Dichroic prism's which separate three colors using angles and coatings on the prism. I was also looking at the "behind the lens prism" the old Bolex used to use and the design of the AMP HDR camera and would like to build my own splitter so I can use one lens and two cameras for some experimental uses. Can anyone point me in the direction to gather some more info?
  8. Yes I could do that. However I will have the rig already, so I might as well just use it. The idea of the bevel is more appealing to me because it would let me choose a lens that can open up a little more then the 3.5 the hartblei would allow for (but that lens does interest me I have loved some of the images I have seen it can produce). That would be easier too control. If I use enough light to get a good exposure at 3.5 it would take away from the light that the LED's kick off and I wouldn't have the nice circle of light around the couch I'm going for. I'm trying to figure out how to make that area really glow nicely so thats one more thing I need to consider. This is going to be a bit of a "rubin goldberg" kind of thing.
  9. Your a good guy Chris, nice sense of humor. However for me it's Goat Tranquilizer and Almond milk. :) I don't know enough about Tilt-Shift apparently, I know enough to know what it COULD do to the image but not enough to clearly articulate. :) Maybe I was just nagging about the blur because that seems to be every yahoo's way of trying to use tilt shift, and if I see once more mini time lapse I'm going to loose faith in humanity, hey it works out better for those who are interested in the other benefits of the system. So just for the sake of research do you know of anything that's been done similar (the slow shift while camera is rolling). All the examples I have seen are more music video quick-cut rapid examples it seems. It will be quite an experiment, I was actually interested in fabricating my own shift system after looking at the arri design. Lucky enough to have a metal fabricator for a good friend. I would like too find a good book with tilt landscape and architecture to check out some images for inspiration. Also interested in learning more about differences in lens choice with the shift system. Where should I look Chris?
  10. Imagine this, this was multiple shots using 12degree shift images. Combine to make one larger shifted image. Same concept...kind of. Unrelated but has anyone tried tilt shift coupled with anamorphic? Is the squeezed image effected more by tilt shift then normal?
  11. I mean two tilt shift lenses on two cameras each being shifted in opposite directions. As far as the motion control I have yet to decide. It could be done by eye it would just take a few practice tries to gauge the speed. (hard to explain I need to draw it too show you). After playing with a tilt shift and trying it on one camera, I think the idea will work I can visualize it. They aren't my lenses...no no no, but we have the panavision set at the university I attend in Santa Fe. Sorry I don't know my tilt/shift terminology well, I don't mean "tilt" as in camera movement, I mean moving the actual degree of tilt on the lens it self. The nasty (or at least I don't think it looks good) blur I'm talking about is usually how I first spot a tilt shift image, It's the flat line where the image becomes out of focus. Shooting with the two at once and cropping 1/3 of the image out and replacing it with the bottom part of the other image would give you one shifted image with no out of focus blur line. Something I don't want hovering above their heads. I currently do not have the tilt shift lenses available to experiment. The image that sparked my interest and gave me the idea was a random blog video posted about a puppeteer, he shot a set with a tilt shift and as the footage rolled, he frame by frame moved the puppet stop motion and slowly shifted the lens, it gave you the sense that the walls were starting to tower over the puppet. I want this effect. I know it was tilt shift and not some other effect because I saw his making of reel at the end, and again...it has the out of focus line start to develop as it shifted. I want to avoid panning the GH2's in the room because that seems to be the weekness with them unless you go really steady and slow. Plus I want the room to feel like it's moving and changing not the camera.
  12. I forgot to add, In the living room it would be a static shot straight on, both subjects laying upside down on a couch looking at the celing. The tilt/shift portion of the scene would be the master shifting slowly (not terribly wide just enough to have the side walls out of frame) it would hold for a bit then punch in to a medium two shot on the couch then a CU of them from above, then up at the light fixture which would shift, then back to the master and the room would be the opposite of when it started. View find would be done via AC using external HD monitoring.
  13. After effects looks like after effects. I would rather do as much in camera as possible. I would much rather do something overly complicated and subtle. :) I have seen what can be done with moving tilt shift images (had the chance to play with a friends setup recently) and I think it would be an interesting effect. Especially the way it would be framed , I thought about doing an upward shot, with the camera split being masked by the wall/ceiling line. Then tilting the floor flat and the ceiling slowly down, with a lighting fixture hanging from the ceiling so you also have something on the ceiling closer to you (also that would be the focus point for the B-camera. A-cam would be focused on the couch and talent. I'm thinking about shooting this portion on two hacked 176mbit GH2's. I also have one PL mount and a set of panavision lenses. I have another challenge which is to capture a "lightshow" in the air. A girl dances over a boy and illuminates herself with high power pulsing glow led lights (actually kick off BEAUTIFUL light) and I have color combos too choose from for her too use. The lights have 10 settings so I can get 10 different looks in the air. I have 12 t3i cameras I can use, and I am thinking about setting up 12 tilt shifts, all shifted slightly (one degree and all the way up too 12 degree's which seems to be the max before the image gets too wonky). All the cameras would be linked and a slightly slower shutter speed would catch the trails of light in the air. Then as it cuts between cameras there would be this warp as it goes along. The blur wouldn't be an issue because the stills can be cropped perfectly to fit so there is no blur line. The trick is going to be finding a way to match the lighting on the talent between the footage and the stills.
  14. Recently I started working on a project where I need to make the most of the dimensions of a room. I would like too develop a new technique but first want to see what you all would think about it. It would involve a using a beam splitter to capture two near identical tilt shift images. What I mean by "near identical" is that I would stagger the two so that the top camera would overlap by 1/3 of the image, so that instead of using a tilt shift and getting that nasty blur, I could layer the two images together thus creating a shifted image with no blur effect. I also would like to use the tilt effect but set up a gear system so that I could very slowly shift the lens during the course of the scene to create a slow change in perspective. I also want too use it for establishing footage and have the house change it's perspective from night to day. I'm trying to come up with a way too slowly change the feeling of the room and make it feel more constricting or less constricting, kind off letting the room breath with the scene. I have a few other idea's for the use of beam split footage but I would like to address this first. What are issues I could run into? I'm planning static shots so I don't need to worry about follow focus. I'm new too the site so thanks for your time. Planning too shoot on either two hacked GH2's or Two 5D's.
×
×
  • Create New...