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Dominic Jones

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Everything posted by Dominic Jones

  1. I've used an M2 on many shoots with a Z1 or XL-H1 on the back of it, and whilst light loss is certainly a problem, sharpness should not be. I found that getting the correct setup for your camera is crucial, and it took me the best part of 2 days testing (with charts, of course!) to get a setup I was happy with - after that, plain sailing though. The other thing to mention is that there are a *lot* of seriously under-powered Nikkor primes out there - I found several lenses far too soft to shoot with on these systems (although fine for 35mm stills use), including the 105mm f2.5, 50mm f1.8,
  2. Well, it's much the same as any other coloured light - it's all about relative intensities. So, if your blacklight is registering at the upper end of your exposure scale then the effect will be strong, and as it drops from, say 3 stops over to 3 stops under you will see the effect decrease until, at around 2-3 stops under depending on what stock you're shooting on it starts to dissappear entirely. Again, just like coloured light, if you hit the same subject with a lot of white light you will also wash out the effect of the blacklight. As for how far it will travel from your source it
  3. I haven't found any decent info on the web, despite a good few in-depth searches, but if you don't mind spending a few bucks (well, probably *quite* a few bucks, as these are all rather expensive!) then: The "standard text" on the issue is "Colour and Human Response" by Faber Birren (ISBN: 0-471-28864-0) You might also want to check out "Theory of Colours" by Johann Wolfgang von Goethe (old school but very interesting) and, of course, any books by Him - Vittorio Storaro (I think part 2 of "Writing with Light" is Colour)....
  4. You could try using the CineGamma modes (there's two levels in the Z1, type 1 is more subtle, type 2 more accentuated) - they will crush your image somewhat, giving you a helping hand, but you need a fair bit of light to work with them indoors, in my experience, as they darken the image a bit. Most importantly, in terms of camera settings, make sure Black Stretch is turned off. Of course, as you rightly surmise, it's really all in the lighting - you may already know all of this, but: Take a lot of blacks and soak up as much spill light as possible. Smoke and lots of backlight always loo
  5. I've recently come across LLD filters - yet to use one though - but my question is: I've only ever heard of them being used as camera filters - can you buy them in gel form for using on the front of tungsten lamps in daylight (I've looked through my Lee swatch and there isn't one listed there, but it's a *very* old swatch given to me by my tutor at film school, so if it's a newer gel it might not be in there)? Also, presumably the effect is not as accurate as CTB (or at least there is some downside), otherwise why do people still use CTB with it's 2-stop loss? Sorry if these are obvio
  6. Well, for my tuppence worth I'd say that your best bet is going to be shooting the 500T uncorrected, which will give you plenty of light to play with from the 125's and will give you the blueish look of moonlight right out of the box. You might want to stick a 1/4 CTB or something like that on the HMI's (or even a 1/2 CTO if you want whiter moonlight) as a lot of people seem to dislike HMI's on tungsten stock for moonlight.... Otherwise, if you want more interesting colours and you're shooting with shops or bars/clubs in the bg, you could use a pink or cerise gel for a neon effect, etc
  7. Those strobing high detail effects ala Saving Private Ryan are accomplished with a short exposure time - that's part of a constant across all forms of photography: The longer the exposure time, the more blurred motion will become, and vice-versa. I don't know what the shutter angle was for SPR (I'm sure someone here will, it's probably fairly common knowledge), but I'd guess the exposure time was around 1/500th - 1/1000th, giving a shutter angle determined but the following (just to provide a demonstration of the maths the other way around): The reverse equation, which is actually
  8. I'm not John, but I can explain shutter angles to you, if that's ok?! The shutter angle determines the percentage of the shutter's spinnning cycle it is open (and therefore passing light through to the film) for - so the shutter speed for a film camera is a factor of the framerate (or how many cycles the shutter does per second) and the shutter angle (or how long the shutter is open for per cycle). A 180 degree shutter angle, which is about normal, gives half the time per cycle for exposure - so 1/48th for 24fps as previously mentioned. A 90 degree shutter angle will give you a sho
  9. I haven't used S4's either, but they are optimised for performance wide open, which (unless you go for the dusk approach) you won't be using them at on a 250D stock, obviously - so *perhaps* that's something to take into consideration? They're probably pretty bloody good well up the range though, to be fair... And, that said, the same will be pretty much true of superspeeds I would image (Mr. Mullen?!) - so maybe not a big deal at all.
  10. Sorry to be a pain, but I'm very interested in learning more about negative fill myself - I've been searching around but have not been able to find the full length threads, just this one... Anyone got any idea where they are?! Cheers!
  11. Hi David, Very impressive work on Northfork, congratulations. I saw the article on it here a while ago and have just today found the forums - this is an amazing resource... I'm planning on lighting a 35mm short for a friend and colleague of mine, Callum Reid, at some point entitled "Layman" in which we are also seeking to use non-digital desaturation techniques such as ENR and flashing the neg - could I ask you a few questions about stocks, level of ENR used, etc. as long as you don't feel it's encroaching on your preofessional territory, so to speak? I'd be very interested to get
  12. Sounds very interesting... I can offer (having never done this either!) a little, perhaps obvious advice. You say you want to film the projection from all angles. To do this you will need to film it in 2 setups, one for each side of the smoke. Smoke only picks up on film when it is backlit, so filming from the same side as the projector will get you nowt! Are you projecting film or video? If film, you will need it to be dual perf (if it's 16mm) so you can turn the film around in the projector to mimic the "other side" of the projection. If video, make sure you get a proje
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