Teresa

Hi. I'm really curious about this new panasonic. How does it work?

Hi dears. I'm planning to shoot my first music video (low budget independent situation). The basic idea is that a man (the singer) seats on a train and meets a lot of different characters, sitting or standing next to him. A story of relationships among them goes on until the end of the song. Two chances: -I could just take a wild troupe to steal images on a simple ordinary train. -I can use an abandoned and STILL train to have the freedom to set lights, shots, people etc. But in this case, which thrick can I use to make a non-still situation...like things going fast from the windows...in the background etc.? I can't rent a "train car", and I don't want to consider the idea to shoot reversal shots in a second time on a real train. Thank you very much an sorry if this question can be a bit stupid to you. I'm not and expert ps: everything could be easier if I used a hdv camera, but I want to use a S16mm. Teresa

Hei thank you Chris Dee Mike and especially Zenit. You guys gave me a lot of ideas to work on. I will let you know. Byez

Thank you so much everybody!!! This forum is great. Now I have a lot of options to study. I sum up 'cause it can be useful for me and someone else: OPTION1 KODAK VISION2 5205 / 7205 250D for both day exteriors or interiors plus KODAK VISION2 5218 / 7218 500T for night OPTION 2 KODAK VISION2 5218 / 7218 500T for both night and day interiors plus KODAK VISION2 5212 / 7212 100T for day exteriors OPTION 3 KODAK VISION2 5217 / 7217 200T for both day exterior and day interior plus KODAK VISION2 5218 / 7218 500T for night OPTION 4 EASTMAN 5245 / 7245 EXR 50D for daytime exteriors. KODAK VISION2 5205 / 7205 250D for daylight interiors. KODAK VISION2 5218 / 7218 500T for night exteriors. OPTION 5 FUJI ETERNA 500T for day interiors and night exteriors plus FUJI F-64D for day exterior. thanks bye

Hi Rodrigo. I'm new here and I don't know much. The only thing I know is that the SRIII advanced has a much brighter viewfinder 'cause they got rid of the lightmeter. But the reason I reply is that I'm an estimator of you huge work. One my favourite movie ever is Amores Perros ;) tnx bye

Hi. I need some help. I'm going to shoot a short in super16 and I'm doing some camera tests with different stocks. The scene are mostly dialogues between two persons. The locations are: 50 % afternoon exteriors in the californian countryside in june, under the direct bright sun. 40% afternoon interiors in a mansion with large windows, in the californian countryside, in june. 10% night exteriors . I was thinking about the kodak Vision2 200T 5217 / 7217 because it might be versatile. But is it ok for the night?? I was thinking also to try the Fuji F-125 T but same issue with the night. In this case I could use also an Eterna Fuji 500T. What's the best stock to be used in all that conditions in your opinion? Thank you very much!!!!!!

Dear cinematographers. I'm a beginner and I have hundreds questions for you guys but I start with this one: I'm going to shoot in super16mm in the countryside, with a really bright sun. Almost all the scenes are -two actors dialogues-, in exterior, both under a porch and under the direct sun. I find quite hard to light exteriors 'cause I can't control the sun and we don't have a big budget. 1: do you think I can handle it with a big silk, butterflies and a 12k hmi? 2: what happen if we do NOT have the budget to rent HMI? Do you think I can handle it with just the flags, silks, butterflies? Which other kind of light I can get instead of the HMI? Other suggestions to handle the sun changing position during the scene? My director wants a romanitc old fashioned look. Thank you! Teresa