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Kaspar Kamu

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  • Occupation
  • Location
    Stockholm, Sweden
  • Specialties
    Lighting, composition, storytelling.

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  1. This isn't still available by any chance?
  2. Of course! Editing on Premiere Pro CC and grading on DaVinci 15.
  3. ROOKIE QUESTION ALERT! Dear trusted community, I've just picked up the 2K DPX files for 3 cans of 16mm I shot a month back. But I must admit I'm completely at a lass as to how to conform my existing timeline of proxy footage to full resolution. Can someone help me by maybe sending a link to a video or perhaps a step-by-step outline of the workflow? Sorry for the novice question! Best, K
  4. Thanks for the replies! We ultimately decided to get it developed straight away.
  5. Dear community, I'm shooting a little teaser/proof of concept on super16 next week. Due to our low budget we've decided to divide up our costs by first buying the film, shooting and then keeping the exposed film in the fridge until we can afford process and scan. In your opinion, how long is it safe to keep the film in the fridge without it affecting the final quality? Thanks in advance!
  6. Dear all, I'm shooting a teaser/proof of concept for a larger commercial in a few weeks. The budget is virtually zero but we're getting sponsorship here and there. I have a question regarding the opening shot. It begins with the camera traveling over the pavement in at relatively high velocity. The camera comes to a halt and the camera slowly tilts up to reveal a young boy beaten, bruised and bloody from skateboarding. I'm thinking of rigging the camera somehow onto a wheelchair which would provide us with relatively smooth shots. I still want to retain some level of organic shakiness in order to emulate it being the POV of a skater. We'd still have to create some kind of rig with a tripod head which would allow me to tilt up at the end of the shot. What are your thoughts? Would you do it differently? Thanks in advance!
  7. Not sure if I'm in the right place, but I rewatched Post Tenebras Lux by Carlos Reygadas and was captivated by the opening scene. It got me thinking how the "halo effect" is pulled off. Is it done in camera (vaseline on a clear filter, perhaps?) or done in post? Here's a link: https://www.youtube.com/watch?v=B7T1-DemdkE&t=213s The effect in question can be clearly seen 03:28! Thanks!!!
  8. Yes, for sure! We decided to go for Mr. Mullen's idea in the end!
  9. I'm just scared that that would compromise the realism of the shot. We're not sure if we're going to have the mountains or the city in the reflection. Or both separately. If it's the city we could get away with it with sound design, etc. But with the mountains I'd like to see trees moving, birds flying, clouds changing and so on. Not a bad idea though.
  10. Great advice! Thank you, Phil! Changed my film order to a few rolls of 50D in order to get a slower stock.
  11. I'll be shooting a small art film in a few weeks which juxtaposes the environments of city and nature. The opening shot will start as a view of mountains where we get a chance to breathe in the environment before we zoom out to reveal that what we're seeing is a reflection onto a shard of mirror held by a girl standing on a rooftop in an urban environment. The question is if it makes more sense to cover a piece of glass with a chroma key sheet of paper or just to spray paint it black (or green for that matter) and add some tracking marks? We'll be shooting super 16 on the Aaton XTR. Is there anything else we should keep in mind? I've attached a reference shot! Thanks in advance!
  12. Hey dear community, I'll be shooting a feature in about a months time. 95% of the film will take place inside a dark warehouse with two small windows in the top of one side with ambient daylight slipping in. The director is very specific about the fill being of a greenish tint. My question is how this green light should affect the choice of costumes. I made some small tests and noticed that red costumes will appear as black. But is there anything else I should be aware of? Many thanks in advance! Kaspar
  13. Hello, I'm looking to invest in an onboard monitor. I shoot quite a lot of film (35 and super 16) and would like the monitor to be compatible both with film cameras with IVS and with digital cameras. Can anyone help me? What do I need to be looking for in terms of specs? Many thanks!
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