Alex Fuchs

By the way, does anybody know the hotfocus for this 17mm zenit/meteor lense. I have a K3 too and I think all things are getting sharp by zoom in (17mm) at ca. 2m. Could that be right? Is there a rule to get the hotfocus? cheers, alex

thanks a lot, maybe I cut the dust, hairs and all this grab with a 1,85 cache/letterboxed, so I havn't to care much about this dust checks. :)

mabe my question was a little bit weird. I think I mean the dust check, after a take. But I am not sure if this is the right english term for this.

ok, let's have a look if I understand this: e.g. when I got a a f-stop at 2.0 in front of her face (incident metering) and I expose this 2.0, a middle grey will be middle grey, and her colored skintone will be right. I don't need to do a correction in exposure. Am I right? By the way: I need the spotmeter only to have a look about the set-contrast all other things I check out with the incident method. I don't really know, if this is the best method to work maybe you can give me some advice what method is the best for what situation. I am a bloody metering-beginner.

I use the sekonic 558Cine, and I thought for this situation I want to meter the light in front of her face integral (no spotting, I don't know the english word for this method).

Sorry, there are many threads about metering etc. but I have a specific problem. I shot most of my material on video (min35 etc.) and I'm not really sure, if I understand the mysteries of metering the right way. My question is: I have to shot a music video on 16mm with a beauty colored woman. I asked myself now what is the best exposure. if I put the lightmeter in front of her face to get my f-stop the lightmeter will expose her face like an 18% middle gray, I think, this is not what I want. And I know two, that the caucasian type has an reflection of 30% (does it mean I have to correct the lightmeter value every time down/up to one stop?). So do I have to correct the exposure (maybe about 2/3 stop?) or can I put a greycard in front of her face, do my metering and take this value? Sorry for my bad english, I hope you understand what my problem is. thx alex

I own a K3 and I asked myself if there is a possibility to do a gate check. Like things look like, the shutter is always closed and there is no phase knob like the Arri SR3 has one. And I can't take the magazine off. So do I have to shoot blind without the possibility of a gate check? Maybe a stupid question, but I need to know. thx alex

thx grainy for your comment and critics. i render the stuff again not so dark. but come on guys only one answer, I need feedback, critics etc. I want to go out to the biz with this. maybe someone wants to critize me - just do it. thx a lot greetings from germany alex

Hi you out there, I need some feedback to my new page and my new showreel. the showreel is at this time without music, because i haven't found already a composer who write me a score because i can't use a copyrighed song in germany. can i go out with this and apply by some companies? thx and greetings alex http://www.visual-bastarts.de

Sorry, we shoot on MiniDV with the JVC GY-DV500 (1/2'' CCD).

Hi you, I have a specific question about my film look. I have to do some night shots under tungsten lights. I want to shoot it very neutral, because the production value is very low and I want to have most options in postproduction. I have some tungesten lights wich I want to foil with amber and mix this with some tungsten lights (white or 1/4 CTB) for moon light. Now my question: I don't know, what will happen with the amber foiled lights in post, if I do a color correction in the more cyan direction, like in this test foto. Will the amber lights get more brownish? I have no Idea. Maybe somebody of you have an idea. Thanks a lot and greetings from Germany. Alex

I have a very simple question: I have to work with 500asa material in an very low light situation. so how can i expose an 500 asa stock like an 100 asa stock? thx alex

Hello, I'm going to shot an film on S16mm and the production want to make a blow up to 35mm. My question is now, on which film stock should I shoot to get the best results for the blow up. There are outdoor night scenes I want to shoot with the KODAK Vision2 5218 material and there are indoor shoots I want to shoot with the Vision2 5217 material. I talked to the production manager who talked allready to KODAK and I wondered about that they recommend him to shoot the indoor scenes with the 500T material to, because this would cause the best results. In my opion this made no sense, so I need your help. Would it not to grainy if I shoot on the 5218? It's my first S16mm production with an 35mm blow up, so I'm not sure what to do. Thanks for your help. Alex

Here's my question. I'm going to shot in a sunny bright light situation with kodaks 7245. I've to shot only with available light (only sunlight). I have an lightdisc reflector for the fill light. My question is if this works good? I'm going to shot an medium shot with an close up in the foreground and I want to fill only the face. thanks

Hi, I'm going to shot an short on super16 in a few weeks. It's my first 16mm experience, so I'm a little bit nervous. All scenes of the film are playing by night indoor and outdoor. The indoor shots are not so difficult, but the outdoor shots are even complicated. I will shot on Kodaks 500T film. The director want's it look like Johnny To's PTU. She want's a look with very yellow lights. In fact most of the available lights are tungsten lamps (dedoligths, 3x2 kw, one 2,5 HMI Daylight, and some smaller units). So my question is how to use it and what do I do with the film. When I shot on a tungstenfilm without the 85 wratten filter all tungsten lights will become yellowish (aren't they?), but what is with my HMI lights, will they get blue? And what kind of conversion gel is to use (CTO?) I'm very confused about it and maybe someone can try to help me. Thanks a lot

Thanks, you two. Steven, that's exactly was I heard meanwhile.

Hi, I'm looking for some standard lenses for 16mm but I'm not really sure what they are. I bought an Krasnogorsk3 whit M42 lens mount. I'm am an 16mm rookie and I don't really know, what standard lenses in 16mm are. Is a 25mm lens a standard as in 35mm a 50mm lens? What about a wide lens? Is it a 9mm? I'm glad if someone help me? Is there an webpage where 16mm technicals are explained? Thanks a lot. Greetings from Germany

The outdoor shots were made without any ligths because it was a no-budget production :unsure:

I put my reel on the net and wanted to get some feedback. Please take a look at: www.visual-bastarts.de/showreel/index Thanks

Thanks David and Stephen, thats exactly what I think about it, but I wasn't 100 percent sure. By the way, it's great to be part of this community. You helped me very often in the last few weeks.

I'm going to shoot a short on Mini35. Now I'm asking me if the frame is equal or smaller than an 35mm frame, because the 3ccd-chip is smaller than an 35mm frame. The question is, if e.g. an 18mm lens made the same widescreen frame as when I shot on 35mm or if the frame is cut of on the edges.

Thanks Mr. Pytlak.

I getting in touch with my new Krasnogorsk 3 and now I'm searching for some negative film stock (maybe Kodak) which comes in 100feet loads, but the only 100 loads I found is reversal film from kodak. maybe somebody knows more. regards alex

thank you dudes. but one more question: what is with the focal length of the 35mm optics. what focal lenght is it when I use it on a 16 mm camera. when I take a 50mm on a 35mm-camera does it mean, that I have a 25mm on a 16mm camera? regards alex

Hi Dudes, at the moment I get in touch with a Krasnogorsk 3 camera with M42 lens-mount. Can I mount normal M42 photo-optics (old German Democratic Rebublic stuff) on it and cause this some vignettes (don't really know if that is the right english term) than? Regards Alex