Stelios Contos

Cool Cool. I figured so.

It seems like exposing for [ insert skin tone here ] skin tone is more of a refined and poignant version of using a 18%grey card. I understand that my exposure is based on the subject matter and creative decisions, but is there another advantage of using a 18% grey card over the skins talent when the subject is the human ? I would think in an event where multiple skin tones are being captured a grey card would do better than selecting a certain to skin tone to base the exposure around. As far as I my knowledge goes, I think most human skin tones lay on 5 in the zone system....and other skin tones within a + - stop and fraction or thereabout within #5 in the zone system. So girls and guys, To close out and hopefully this makes sense, when do you choose to expose your subject with a grey card versus their skin tone or is it less imperative than I'm thinking. Thanks for your input. I love learning so let me know if a mix of exposure tools are useful or do you use one and done.

When I have a monitor, weather on camera or an additional one, and they do not support on-board frame lines or uploading them to the camera, how would I go about in masking a monitor with tape for framing for my desired finished project ? What formula would that be say to get 2.39|1, 1.85|1 or any other ?

Hey, I noticed some interesting personalities coming from Benoît Debie cinematography practices. I was watching a movie directed by Wim Wenders called Every thing will be Fine. As an added side-note I want to mention the writer,Bjørn Olaf Johannessen, because its connected to the bigger image I noticed personally. The things Im interested in is 1: Benoît's light choice for an early morning scene in this movie? & his all around esthetic - lighting & framing specifically. And the other question was 2: The combination of influences on this projects development? First, the lights question: If you look at the stills I added theres a neon quality to Benoîts lighting in this scene. What I mean by that is the light glows and wraps around some items. The pictures I think show his representation of a really early/late night 2 morning transition lighting. There are 2 ext lights skimming off the exterior windows framing & filling some of the frames space. In the distance outside is the wide open field and the people are in the foreground. Anyone have any knowledge on what Benoît's like lighting choice was when he created that light. From what I noticed from Benoîts style is that he tends to make some of his lights glow. You think this was enchantment in edit or on location DP choices? If you watch & check out stills from http://www.imdb.com/title/tt1567609/?ref_=ttmi_tt http://www.imdb.com/title/tt2101441/?ref_=nm_knf_t1 https://www.youtube.com/watch?v=B3eAMGXFw1o The other part I wanted to see if anyone noticed was the quality the movie gives off? To me (generally speaking) its gives off part french color/saturation look w & audio style, German novel/script story development & Scandinavian spatial theories. I can expand. Just curious to see if anyone picked up on what Im seeing as the embodiment of various countries. Its neat I think. P.S The lights Im interested look to be the same color you'll see dotted around this movie as well as in Rihannas MV & the flashlights in The Maze Runner & other films.

Ay, Im selling one of my camcorders, a Sony FS100 Super35mm digital camcorder. I think you'll dig the price. :rolleyes: You can go here to check it out... http://www.ebay.com/itm/262485531371?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649

Thanks again David & everyone. If been reading a lot about film. I've been reading this page and those wiki pages too. http://www.digital-intermediate.co.uk/film/filmscanning.htm

ooo, is the horizontal captured area of the S35 film...I thought I was on to something. Im looking at the wiki pages Tyler provided which I have read numerous times before, thanks again, I'm getting a lot of it but I possibly need some hands on too.

I suppose when I said "blow-up" I meant : What is the standard resolution of 35mm film & what are the possibilities of up-resing it [E.G 2,4,6k or to a bigger piece of film like Imax?] David, the chart is informative. Is the chart describing the S35mm optical blowup process with a spechrical lens and the bottom display describing a ANA lens being applied to achieve the same 2.35 AR? If my question above is right, couldn't one just use an ANA lens on the S35 negative to achieve using the same surface area like the 35mm ANA film since the grayed out area is still usable on the S35mm film? I just have to keep looking over the math. The used area of the ANA 35mm film is smaller because of the vertical squeezing ANA lens, right?

David I suppose I shouldn't have grouped the blow-up process for film with the re-sizing or enlarging of digital. I also previously dint know that celluloid has such range when it comes to resolution. Thats what I meant when I said: resolution limits. Meaning, at what point would one notice a unsharp picture @ a certain resolution with a 4-perf 35mm frame film during a blow-up process? But, your respond to my question works to. Are the qualities of 4 perf 35mm used with ANA lenses that different than cropping S35mm w spherical lenses? Also a little more on film S35mm. I leave it on film to make things more simple. S35mm initially has a notion to me that its bigger than 35mm. Do you mean 4 perf 35mm has a bigger surface area than S35mm right of the bat? Or is S35mm surface area smaller because the spherical lens usage during production then when everything is said & done it will be cropped to 2.40?

Wow. That arri info David provided is making sense. As is everything else now. Is 4:3/1.33 : 1 full aperture?

I'd like to have been apart of that insider. They were born in Feb, no?

So what are the resolution limits of expanding (for simplicity) 4 perf 35mm film? I always wondered how did the process go about in starting with one frame sizing film stock and ending up with a 2k DCP digital master. Originally, I looked at it in the way of you take a digital image and if you just resizing it in the most general way, one would start to loose quality from its original size. Also, are you saying that: The most often case if a movie is shot on film and slated for a DCP then that movie would go through a Telecine process? Telecine then D.I? Just one of those process's because doing both would be redundant, costly and degrading to the source footage?

ha, I never heard that for the widest stop. ha. Is there one for a super closed aperture?

Hotdam. Thanks Tyler & everyone else who decided to assist me. You have some project page or something of your creations Tyler?