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Sebastian Matthias

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Everything posted by Sebastian Matthias

  1. hello everybody! That is what it says written under the video. "Time Lapse Photography by David Fortney, Soundtrack by Blair Herbert. Directed and created by Philip Cacayorin" I think that is how most of it is done.The flying leaf is digital. hello from germany sebastian
  2. Hello John ! The ballast seemed to have normal temperature, and it was brandnew.The light output seemed to be much more and brighter than the other lamps. That would actually have been a very good idea to measure it with a normal lightmeter ! The ballast got send back to the manufacturer, maybe they will say something to it ! I also startet a threat on this topic in CML and got some interesting answers allready. All the best Sebastian Matthias
  3. Hello all togethether ! Yesterday something really strange happened to me and I just can´t find an answer.......... I was checking HMI lamps for a shoot and measuring colour temperature with a colour meter (minolta colormeter 2 ). All lamps where fine (ranges between 5600-6000), just one lamp permanently showed values of 20000!!!!( no poop: twentythousand ) kelvin. First I thought it might be the meter, but it measured all other lamps, the sky and everything I could think of just fine. I started changing bulbs and even lamp housings (could have been a bad lens/could have been huge amounts of UV-light coming through), but the result was allways the same. Finally I changed the electronic ballast unit (it was a kobold) and suddenly light temperature was okay. So my question ( an also the question of the rental house,some gaffers,,cameramen I asked for help...........): Can a malfunctioning electronic ballast device change the colourtemperature of a HMI in such a massive way and how does this work????????? I can´t sleep before I find an answer to this tricky question ! Noone I talked to ever experienced something like that ! Cheers Sebastian
  4. Hello ! Unless You have stairs in the house. a wheelchair is an excellent,cheap option. I wouldn´t try to use a steadicam if You are not an operator or at least had some practise with it.It´s quite a difficult scill to learn and really needs practise. Maybe those little handheld steadicams would work (was it steadi-stick?).you know,the ones without arm and west.I have never worked with it,but i think they work with a small camera like that. just an idea. good luck Sebastian
  5. hello all ! thanks a lot for all that replies ! i think i really got off that super8 idea. I knew about crashboxes and those ways of faking crash situations,it just would not have worked with the shots we plan (throwing cameras over long distances,for example!) But the idea of getting some old russian cameras sounds good and I know that most of them are allmost undestroyable! I had a Krasnogorsk for years,but sold it last year. We will do a test with super8 anyway, just to be sure. I also like the idea with the mirrors! That could be a great tool for some shots. It´s allways a bit hard to explain exactly what I´m looking for and how I want to execute shots, because I´m not allowed to talk about that shoot in detail. But You gave me some really nice input! :-) thank You all a lot ! if there are any more ideas...let me know ! cheers Sebastian
  6. dear david,dear J. thanks for your replies. I would love to use a A-Minima or maybe a Ionoskope(did I spell that right?You know what I mean),but the problem is that those cameras will get damaged at the shots we plan.That´s why we were thinking about getting a lot of cheap super8 cameras over ebay and just "use them up".This might sound a bit radical and unprofessional, but since the shots are short and just last till "impact"(just as the cameras) it should work. We found a company,that slices up 16mm stock to make super8 stock out of it.This would give us the chance to use any stock avaiable. My main concern is picture quality and as you stated,the picture might look like 2nd worldwar news. I know that super8 films normally had about 40ASA,so I´m concerned that quality gets even worse with faster stocks. I have never seen a film on super8 on a big screen.Has that ever be done ? Are there any possibilities to improve picture quality with super8? if I go for it....what stocks and wich processes i should use? thank you for your input! (i know it! this shoot will keep the gears in my brain moving ;-) ) best regards sebastian matthais
  7. hello everybody ! this might seem a very silly question, but is it possible to get a decent quality blow-up to 35 ? good enough to run on a big screen ? we are in preproduction for a commercial and most will be filmed on super 16 for blow up to 35. a lot of the shots can´t be done with a sr3 because a: it´s too big and b: chances of damaging the camera are very high in those shots! so we decided to try out super8 , but honestly I´m not very familiar with that format and with it´s possibilities. I know, in some commercials super8 was used (for television) but would that work for the big sreen ? Any info I would appreciate very much! thanks for your help Sebastian
  8. just sold my ks3 on ebay.Sorry! But I wonder: Is there a video assist for a Krasnogorsk? Just wondering,since I´m a Steadicam-Operator. good luck and all the best Sebastian Matthias
  9. The easiest device to use is a turntable for records, if you are only doing packshots! combined with a dimmer you can even control its speed, or just use a helping hand to turn the table. that allows you to stop at the exact position if you need to. you also should bring a wooden plate with a drilled hole in the middle,to put on the pin where you normally would put the record. some turntables that you can rent at rental houses are actually converted record turntables! why make it hard when you can make it easy :D cheers sebastian
  10. Hey Fred ! If it´s really only the close-up of the actors eye, do You really have to stay in that 8x8 room?????? You should be able to film it somewhere else,where You can move further away and use a longer lens. This way You wont have the lens reflecting in the iris. cheers Sebastian
  11. dear rob,dear steven ! thank you for your replies. yes i did look up their homepage, but somehow couldn´t find what i was looking for. maybe i didn´t look closely enough,it was a bit late the last couple of nights ;) as far as i know our postsupervisor has got in contact with mtioncontroluk,so maybe there will be some more answers,soon. thank you again i´m off for the next shoot but i´ll stay in contact cheers sebastian
  12. hello everybody ! we are planning a fantasy-movie and think about using the viper.lots of steadicam will be used and then combined with motion-control / models. my question : is the viper a good choice for motion-control with the possibility of undercrankin,overcranking and variable shutter angles ? is anyone around here who has used the viper with moco ? any information about shooting moco with the viper would be very much appreciated ! all the best to all of you sebastian
  13. Hello ! I use the 508 since a couple of years(not cine) and it allways did a very good job. If you know how to use your lightmeter you wont need the cine features.Remember that a lot of great movies have been shot with normal incandescend lightmeters and spotmeters.You have it both in one meter! so if you get a good deal.......take it.It´s a fine meter !!!! ;) all the best sebastian
  14. hey francisco i liked your pictures in the reel.i think some of the shots are to long and some yüo maybe should not put in it.The pictures of the first band are somehow repeating ,maybe you should make it a bit shorter. i liked the last b+w musikvideo and also some shots of the shoot with this guy in the middle of the reel. there´s some material of girls running through some hallways.make it shorter! and: are you a steadicam-operator ? most of the shots seem to be steadicam,so you should watch out if this is supposed to be a steadicam-showreel or a camera showreel.(some good steadicam shot there) i really liked the shot where this guy climbes out of a hole in the desert.the wide shot is reallly good.really nice. there´s another close-up shot of that guys eyes that i did not like.too much blue in the lith.makes him look sick somehow. so, this was just my personal opinion.i´m not perfect and taste is allwaysdifferent. all over all i liked the reel ( and i really like b+w ) but i would try to use only the very best shots of every shoot. all the best to you and good luck with pitching ;) cheers sebastian matthias
  15. hello everybody ! thanks for the replies ! and kai: thanks for the link!there´s some interesting stuff there! cheers sebastian-doesn´t-know-how-but-will-find-out-matthias :blink:
  16. hello all! Thanks for your replies! the real problem with tracking steadicam is that you have 6 positions to look at. pan,tilt,roll,booming up and down,backward/forward and accellaration. and everything has to very,very accurate to feed it into a moco.(especially when you work with models and not a 3-d image that you can manipulate in a computer). the helicopter thing sounds very interesting,alltoug in a blue/green studio you don´t have any other markers than the tracking balls/crosses. maybe that would be really the best way to make the markers just very big. would you stll be able to erase them from the picture later on in the post if they are big? thanks for input! cheers sebastian
  17. hey everybody! i´m new to this forum ( come from the steadicam-forum) and have a question concerning motion tracking. i have a shoot coming up in a big (very big / 800 sqare meter !)studio.the shot will be steadicam and, since sytems like thoma´s walkfinder (infrared-leds+infrared cameras) have limitations in hight and width we want to use a motion tracking program to feed the shots into the motion control afterwards. we allready looked into bujou bullet and some other programs and the post-superviser+the dop don´t think that those softwares would work in a big studio over long distances and also would not be exactly enough to use with the moco+models later on. has anyone of you done something like this before ? would it help if we made the tracking balls just 3times the size or are there any systems around (not sensor based!does not work with steadicam) that can track the pictural motion over a long distance? would be nice to get some feedback ! all the best sebastian
  18. thank you all ! helped a lot ! sebastian ;)
  19. thank you steven !!!!! :D cheers sebastian
  20. hey everybody ! does anyone know how to reach jeff kreines from kinetta ? i sent him some e-mails,but he didn´t answer. we would like to use the kinetta on a big shoot next year (actually we are thinking about buying two of them) but in their homepage are no kontact-details. where is kinetta lokated (UK?US?) and are there any phone-numbers. i couldn´t make it to the NAB but i would love to get in contact with them. thank you all for some input ! all the best sebastian
  21. hello everybody! i´m new in this forum (normaly hang out in the steadicam-forum) and actually just looked for a school to learn a bit more. it´s pretty much of a show-down you are doing :D i´ve got a little to say to both of you: jake,you are probably right when you say that digital is the future.here in europe hd is becoming bigger and bigger . the main reason for this is that most productions want to offer the newest technology to their customers,to be ahead of other productions. (everyone´s got a beta-sp,but if you have a hd-camera you just can get more money from your customer ).also the possibilities you have in the post are enourmous.even most tv-stations upgrade to varicam or something similar. in my personal opinion hd will be the standard,just as beta-sp has been the standard for such a long time. and yes, the digital cameras become better all the time and more and more movies will be shot digital. nowadays there are 2k-cameras that even allow you to change all parameters as you want to. (the ARRI D-20 for example.wich has a big fat ugly cable,soevery steadicam-öperator like me would hate it :blink: ) just now the"kinetta" came out,wich has a hard-disk to record on and its also very small (a bit bigger than the a-minima from aaton).it also uses prime lenses. BUT: although all this new technology is really amazing i don´t believe that film ever dies!!!! since digital becomes standard, the "top league" allways will want to shoot on film and because everyone wants to shoot like the "top league" everyone will want to shoot on film. film is just the real thing !´ that has to do a lot with ego. and i´m not sure if ever the real film-look can be created digitally.even if you use a p+s pro35 together with a top end hd-camera. film has survived 100 years,why should it die ? and:digital does not mean less money. in my believe you can just shoot as cheap on film as you can on hd. when the shots are carefully planned and time for rehearsing is taken you might just need 3 takes instead of maybe 10 (because tape is cheap).also the post in hd is very expensive. opinions to this topic will be allways very different ,but also evryone should be open to new technologies. never know what your next customer wants you to shoot on :blink: pretty long post for my first post on this forum! all the best to you and get a filmcamera sebastian-loves-to -write-long-posts matthias
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