siddharth diwan

I just finished shooting a short film and while transferring the AC changed the name of the CONTENT folder to Day1..Day2..Day3 and now we are not able to put it on the FCP time line

How to put this right?

Thanks a lot.

If there are a hell lot of visual effects involved ina film is it better to stick to a Pro digital camera or still 35mm will be better

Don't be such a prick, Jonathan. It's a very complicated artform.

 

Good luck, Siddharth. You're braver than me. ;)

Thanks mate

I'm doing this small scene where there are three characters in a room and the only source of light is a projector from which a film is playing on the screen.

How do i create this kind of an effect where i can see projector images falling on characters body and there is no other light source.

Thanks

No motion jus a simple static block shot how does that happen

I saw this film where the character was moving normally and the cars and everything else around him was in slow motion dat too a bit blurry...how is that done?

As long as they have corrisponding mounts, yes you can.

I got the information that an SR2 has a PL mount and so does Ultra primes but is there any possibility of vignette on the edges

I'm shooting S16 on SR2 but planning to use 35mm lenses so wanted to know if thats possible...and if yes then what options do i have out of Ultra Primes, Zeiss, Cookes............? which one's can be mounted on a SR2

hi... I'm shooting a feature on S16 and going on DI and will print it to 35mm 1:2.35 as in India projection is only anamorphic 1:2.35 but what will happen if we dont go through the DI process and release it on the same format ...will the image will only be seen on half of the screen ...will it be distorted in someway...streched or something....please let me knw.

thanks

I'm really confused in this matter please help me out.

What stock is used in Night Ext. day or tungston balanced?

If in a scene if characters are moving from Int with all day lights to Ext Night with tungston lighting then we use two different stock or what and what if this happens in a singe shot

My recommendation would be to shoot 35mm. Equipment for high quality production will cost the same, the only thing you'll save on is film stock. Which is not that expensive compared to other operations you'll be doing in post. This way you can DI/scan only some of the footage like titles, sfx etc...

 

For 1.85 non anamorphic in 35mm or Super-16mm you should be set. (Though after DI/Blow-ups) you'll pay $$$$$.

 

If using 2.40 (2.35) you should use 35mm and anamorphic lenses for your origination.

 

The neg area in Super 16mm after a 2.40 crop will be so small there will be barely any information left in the frame.

The reason why we are going S16 is because the director and producer want go super 35 and DI instead of R35 to have no limitations but then we go really high on budget so the next best option is S16.....so what is the aspect ratio reccommended and what shuold it be framed for coz eventually it will go on anamorphic 1:2.35

There is the efficiency of how it spreads the light -- how evenly in all directions -- and there is the density of the material, which affects how much light is lost but also how far the light fills the material. And there is the color it may add to the light (Muslin is warmer than Bleached Muslin) and there is the issue whether it allows any specular light to leak through the material, creating a faint hard shadow.

 

And if you're outside in the wind, there is the issue of how much noise it makes flapping around.

 

They all soften light in different degrees with different textures. Beyond the textural issues, most people need light, medium, and heavy diffusion for various reasons (heavier materials may cut down the exposure too much, lighter materials may not diffuse enough, etc.)

 

For example, you may put a 4'x4' frame of Bleached Muslin in front of a 5K and find that you've lost too much light and therefore either need to switch to a 10K, or switch to a lighter diffusion like 216. But maybe when you do a closer shot next, you can switch back from 216 to Bleached Muslin and just work the frame or light closer to the subject to get enough exposure.

Thanks David for replying......can you also tell me which diffusion cuts more ligth n which one is less....what do u prefer msotly

What is the difference if i use Silk or Muslin or Bleached Muslin or any other diffusion.

Thanks

If i'm shooting S16 and then goin Di to make it anamorphic 1:2.35 print on 35mm then what is reccommened... can i use a mask of 1:1.85 and a ground glass of 1:2.35 or something else.

Thanks

I have some serious confusion with the format...Please clear out..Help!

Ok i read about film perforation and how it works on the intermittent mechanism with the pull down claw and the pressure plate and film gate....but what about video there are no sprockets there so how does that work and hows the image captured on the tape.

Also the illusion of motion created by film by capturing continuous still frame but how does it work on video?

Thanks a lot

Yes, you should shoot 25P if you are doing a 50i post and video release. There's no reason to deal with 24P.

 

You can deal with 24P in a PAL environment, but it just makes dealing with the sound harder, plus if you're talking about a standard def video camera, you have the fact that 24P/480 has less lines than 25P/560. You'd probably shoot with the sound synced to the 24 fps rate, but in a PAL post have to speed it up slightly to 25 fps, along with the image.

But i'm still confused why do we shoot 24p then.

If i shoot 24p how do i go about post production, are there editing softwares which support 24p? and if yes which one's?

Also how much difference is there in 24p and 25p?

Really want to know about this....Thanks

About the 24p mode i have a confusion, even if we shoot it on 24p in the end all out players and recorders are 50i or 25p for Pal so when we capture the footage and take the final dump its going to be 50i also won't 24p be a problem shooting sync sound.

Please clear out my confusion. Thanks a lot.

Very nice, is that all just available light? Or did you bring in some light as well?

It was about going around in Villages and waiting for the right light...because there's intresting stuff everywhere in Indian villages its jus t about waiting for the right light...Thanks anyways

Its all natural light but looking for over all reviews on the pics as i'm now working on my composition and exposure...

Need some reviews of my work.

Thanks a lot.

http://www.flickr.com/photos/85085637@N00/

I'm shooting a short film on DSR 450

Suggest me good settings which will give me a good look

Its entirely a exterior shoot in a spooky location with a lot of trees and huts

Thanks

what is an average tution fees in America for schools known for cinematography education

I've just graduated Cinematography dep. there. I think it's worth it. There are only a few good tutors, they very old and very often don't get what u say so it's waist of time to discuss thinks. The good think about this school is that we shoot 35mm the whole time. So u get the best experiences possible. Every think there plays up so u get a lot of hard times and nowhere else u get so confused. The best there are the young people u meet in school, I guess I've learned the most from them...

 

It's not so hard to get in, two ways to study: regular course/4 years/master of art or u can just do one year as a free to go any class u want, it's the cheepeast and it's perfect if u want to get only experiences. To get the cost u must call the office.

But wont the course duration come to 5yrs including the polish language course because i'm english speaking

I wanted to know hows the Lodz film school for cinematography, whats the coures duration and fee ....and most of all how difficult or easy is it to get in it because it does'nt seem to be a profit making institution...i checked out the website which is in polish and the english version is not detailed .....so please someone give info about it....thanks a lot

what exactly is a job of a video assist...what alll responsibilities?

Oh very well ...America Vs Britain but are there any more film schools there because i have to come back to the Indian Film Industry where films much more in quantity are made and education from any film school would work if you can market and sell yourself...........sp plz are there ny more film schools...thanks coz thats how all of this started initially