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Twan Peeters

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  1. Wow, thanks so much all for these in-depth responses, this has been a really helpful. I haven't been replying on purpose since I enjoyed seeing this discussion unfold. Thanks :) I guess I should just keep doing what I'm doing know, following my intuition and fighting for my shots when collaborating with a director. You made me laugh, Phil. I guess this is very true. I haven't seen it, didn't know it existsted. Will watch it, thanks!
  2. Hi there, I've been working as a freelance cinematographer now for just over a year. I've been lucky enough to shoot quite some films as a DP already, and to get guidance from experienced DP's. But one thing I'm struggling with for a long time is how to develop my own unique cinematography style. Everytime I shoot something, I simply inspire myself on other films, shots or photo's I have seen. But most of the time I feel like I'm just copying other cinematographer styles. Now one thing I've been taught is that when you start out it's OK to copy others peoples work to learn, as long as
  3. Lovely work Ivan. I love the colorgrading. I'm also curious how you created the lens effects?
  4. Thanks guys, fortunately we ended up being able to afford the FS7 for the whole shoot. So I didn't need to worry about the difference in quality anymore. David, I can't give you a solid answer on this, but what I do know is that you will need to plug in an external recorder to the F3 to be able to record 10bit prores 4:2:2. If you decide to record internally with the F3 you can only get 8 bit 4:2:0. So here there will be a quality difference.
  5. Thank you so much Carl and David, We ended up choosing a green screen studio since we needed to change a lot of the background. We figured that a white limbo would have not be sufficient. I put the actor on a green cube, slanting a little bit, and filming the talent from a high angle. This way he could let his arms and legs float, and it does seem like he's actually floating. So the solution was quite simple after all. @David: The background needed to be a cloudy enviroment. Grey, like an endless foggy nothingness. Thanks a lot for the advice!
  6. Hi there, On my new film we have a Sony F3 available to shoot with with Superspeeds Mark II lenses. Now we also need to shoot some slowmotion, but this camera doesn't. Due to the low budget we are thinking of hiring a FS7 for a few days and shoot the rest with the F3, but I'm not sure these images will match up? Does the Sony image line up well when mixing with other cameras of their product line? Hope someone can give me some advice here! Cheers, Twan
  7. Hi there, For a new film I'm shooting we need to shoot a 'limbo' scene, where one of the characters in our movie is essentialy floating through empty space, nothingness. Now I'm new to visual effects cinematography, and my question is: how do you do it? I have two possible scenario's in my head: 1. We hang the actor in a theather in a special harness, and we film him infront of a white screen / green screen. We use a steadycam to float in a subtle way infront of the actor, so it will seem like he is floating. Problems: Our actor is quite heavy, and you will probably see it tha
  8. Hey there, I own a Black Magic Pocket Cinema Camera with a Metabones Speedbooster on it. Now I am a lucky man, because I am able to get my hands on a set of Zeiss Superspeeds Mark 1 & 2 glass, which I would love to use on my BMPCC for shooting fiction films. I know it is possible to buy a PL mount for the BMPCC MFT mount to PL, but how does this work with the Speedbooster in between? The speedbooster converts the MFT mount to Canon EF, and reduces the crop factor to 1.7. Would it work nicely if I just buy a EF to PL mount adapter now and put that on my speedbooster? Or would this
  9. Thanks a lot for the information. I did not know that the car has to drive at different speeds to make the cuts look realistic. Unfortunately we are not using a trailer so we cannot change the speed of the car, because then we would hear it in the audio (the engine of the car will make a different sound). That said, I think I will just make the 2shot through the windshield really tight, so it will be harder to tell the speed as you said Adam. Thanks!
  10. Dear fellow filmmakers, For the first time in my life I am shooting a car scene next week. We are using a carrig with suction cups to attach a C100 to the side of the car. Now since we do not have a car trailer, our actors have to drive and act at the same time. We want to make sure that it is as safe as possible for the actors to do this. Luckily the scenes will take place on empty roads at the countryside. In addition I would like the actors to drive as slow as possible, yet it still has to look realistic. Now my question is: Do you really see how fast a car is going? On the roa
  11. It's always tough to make something in such a short amount of time. Cinematography wise the quality of the shots seems to differ a lot. There are some really nice shots in there, and I would recommend you to try to pay attention to such detail in every shot as much as you can. Something I always try to do is search for a nice composition, then search for something better. What kind of jib are you using for the moving shots? Like in the shot at 3:39. Are you shooting on a DSLR?
  12. You are right that a big crew doesn't necessarily mean a better crew. We had a relative small crew, but also for some functions it was not really clear what their specific function was. For example we didn't really have an assistant director, which I think played a huge part in the timing of the production.. This summer I am working as a production-assistant on another 48 hour film, the crew will be around 38 people. However, since this production only consists of professionals and everybody has a specific function I expect that this will go well. If there is one thing I have learned it
  13. Ok, so I placed the result in the 'critique my work' section, for those who are interested! Click here to see the result: http://www.cinematography.com/index.php?showtopic=63846
  14. Last friday I made a new thread in the lightning section to ask for tips an advice on how to shoot a film noir. (http://www.cinematography.com/index.php?showtopic=63816) I'll first explain something about the project. I participated in a dutch 48-hour competition this weekend as a cinematographer. 48 Hour is a competition held regularly in The Netherlands in which numeral film-teams compete against each other by creating a short movie from concept to completion in just one weekend. During the kick-off of the event every team get's randomly assigned to a genre. We got Film Noir. I was real
  15. Thank you so much guys for all of the replies, all the advice I got was extremely helpful. It was a really big challenge to create something good under so much pressure, but I am really happy with the results I got. I will let go how it went and post the result soon! I'm really curious for your reactions and feedback. Will open a new topic for that in the other categories. For now I am going to sleep, since I hardly slept this weekend.
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