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Kaspar Kamu

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About Kaspar Kamu

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Profile Information

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

Contact Methods

  • Website URL
    http://www.kasparkamu.com
  1. 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!!!
  2. Yes, for sure! We decided to go for Mr. Mullen's idea in the end!
  3. 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.
  4. Great advice! Thank you, Phil! Changed my film order to a few rolls of 50D in order to get a slower stock.
  5. 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!
  6. 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
  7. 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!
  8. Hello, I'm flying to NYC in a few weeks to shoot a small commercial on super 16. I can get a good deal for film stock in Europe, so I'm considering buying it here and taking it with me. But could someone recommend me a good dealer of film stock in New York? Also, what places are good for processing and scanning? Many thanks in advance, Kaspar
  9. Kaspar Kamu

    The Shining

    Dear Forum, Stanley Kubrick is a director whom I have admired for as long as I can recall. His innovations to filmmaking are innumerable and in his wake has inspired several contingents of new filmmakers to push the limits in terms of conventions. Anyway, it was yesterday when I rewatched The Shining that a particular question came to my mind - his lighting techniques. I know that Kubricks use of practical lighting was quite groundbreaking, but how much did he actually rely on them to light the entire set (excluding the use of large daylight fixtures for interior day scenes)? Kubrick enjoyed immense creative freedom on his productions and was thus able to reconstruct the entire interior (and parts of the exterior, I believe) of The Overlook Hotel on a soundstage. Please take a look at the still attached. As you can see there are numerous practicals visible, and they are all blown out. Is it reasonable to suggest that all bulbs are a minimum of 1kW? Since the fastest available film stock until 1981 was only 100 ASA, would these practicals have been enough to light the entire scene? And what about the reflection on the floor in the bottom left of the frame? Many thanks in advance!!
  10. Amazing! Thanks for your reply! And is it then possible to record the footage onto the recorder and to edit the dailies that way?
  11. Dear all, So I'm shooting a film on 35mm in a couple of weeks and I'm looking for a compatible monitor? We're trying to get the HD-IVS, but it's not yet confirmed. What monitor would you recommend for video village? Would it work with any SDI monitor? Oh, and another question. Is it possible to record the feed onto an external recorder, say a Shogun directly from the video tap? Sorry for my novice questions! Best, Kaspar
  12. Thank you David. Makes sense to break up the roll!
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