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Kevin Descheemaeker

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    12
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About Kevin Descheemaeker

  • Rank

  • Birthday July 18

Profile Information

  • Occupation
    Cinematographer
  • Location
    Antwerp (Belgium) & Los Angeles (USA)
  • My Gear
    RED EPIC, ARRI ALEXA, ARRI AMIRA
  • Specialties
    Aerial Cinematographer with Cineflex HD, Cineflex Elite, Cineflex Ultra and Shotover K1

    Aerial Cinematographer / Camera Operator for Flying-cam.com

    MōVI owner and operator

    Specialised in handheld camera operating

Contact Methods

  • Website URL
    http://www.leadingeye.be
  • Skype
    leadingeye

Recent Profile Visitors

1321 profile views
  1. Hello everyone I have an upcoming production that requires the final result in 16:9 for television broadcast and use on social media. However, the director would like to shoot with anamorphic lenses for the look and feel (breathing, bokeh, flares, etc.), not a rare thing to do but the production company wants me to show some samples. They are afraid that this will take to much post-production time. I will be using my new Sony Venice camera that allows me to shoot 4K 4:3 (as the lenses are not covering the 6K 3:2 sensor) and put up some 16:9 (1.78:1) frame lines. Does anybody know some great sample videos / shots / stills that I can show to my production team so they visually see what the plan is.
  2. Hello Alfonso Love the footage you made with the Sony Venice, beautiful country to shoot a test! So you shot everything in 4K 17:9 resolution in RAW with the separate recorder with the Leica and Sigma prime lenses. With the Kowa's you shot in 4K 4:3 mode, but then you couldn't go wider than 50mm, as 40mm would vignette? Greets Kevin
  3. Hello Dom Thank you very much for the explanation, much appreciated. So doing this will not give us a full 4K resolution but more or less 3.6K. The Atlas Orion lenses are covering the entire Full-Frame sensor with the adapter ring, we're just loosing 1 stops of light with it. On the CVP.com website, I did a sensor check with the lenses without an adapter ring and if I cut the footage out of the 1.78 frame line I would keep 3584 x 4032 so just not enough to keep the 4K resolution (3840 x 2160). The vertical would stay the same, only in horizontal I'm losing coverage.
  4. Hi I'm originally from Europe but work and live now in the US and as far as I know, V-Lock is something we always used in Europe and the Anton Bauer Gold Mount is more a USA thing. I must say I always had V-mount batteries and actually still have them, but the Gold Mount is much stiffer and rigid. To make it even easier Bebob just introduced a new mount, the B-Mount more like a combination of both systems.
  5. Hello everyone Our next upcoming documentary production is scheduled to use the Sony Venice camera, the director would like to shoot the bigger part with anamorphic lenses just for the look and feel of it so not because of the wider horizontal angle of view. We are looking to buy/rent a set of Atlas Orion lenses for this which has a 2x factor in combination with their new LF adapter ring. However, the final results need to be mastered in native 4K resolution 16:9. I'm planning to shoot Full Frame 3:2 6K resolution and put some 16:9 / 1.78 framelines in the viewfinders and monitor to guide us while framing. But do we still make the 4K resolution if we cut off the image that is out of the 1.78 frame lines? Thanks a lot Kevin
  6. Hi All Interesting to read your stories. I totally agree that the back seat if often neglected, however this is not the seat that is assigned for the AC. Actually there are no fixed postions in the camera car at all, besides the one of the precision driver. As a Russian Arm operator it is important to see where your crane is heading to, so if the arm is in the front the crane op. will take the front seat, if it is in the back he will take the trunk seat and if we're swinging back and forth he goes in the middle. So everybody can dance around in the car he likes, but everybody needs a position so he can do his job at best. I know a lot of AC's who want to go in the back just because they have a good view on what is happening around them and to see the distance of the camera and the object. But its not a story to scarify anybody, everybody needs to be safe in the car so at least you need a seat and have the possibility to buckle up. If I'm operating the arm I'm always sideways because that's the only way I can keep an eye on the arm that is going around the car.
  7. Hi Bill I reposted the post with a picture because I can't edit it anymore. http://www.cinematography.com/index.php?showtopic=69868 Greetz Kevin
  8. FOR SALE 2nd hand Sachter Cine 150 tripod + ground spreader + tube case PRICE: 1.000 USD
  9. FOR SALE 2nd HAND TV-LOGIC 5.6" LCD MONITOR - TV Logic 5.6” LCD HD/SD-SDI HDMI Reference monitor with waveform - TV Logic Battery Bracket - TV Logic Acrylic Filter - Hoodman 5.6” Monitor Hood - TV Logic D-Tap to mini XLR power cable - TV Logic Lemo RED to mini XLR power cable - TV Logic Lemo ARRI to mini XLR power cable PRICE: 1.100 USD
  10. FOR SALE 2nd HAND VIDEO DEVICES PIX RECORDER 240i - Video Devices PIX Video recorder type 240i - Video Devices Pi-LCD clear polycarbonate LCD cover - Video Devices articulating arm for mounting - Pelican case type 1500 + lasercut foam - 4x Video Device PIX Caddy2 2.5” Drive caddy - 4x Samsun Pro SSD 256GB drive PRICE: 2.500 USD
  11. FOR SALE 2nd hand Sachter Cine 150 tripod + ground spreader + tube case PRICE: 1.000 USD
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