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Marta Teixeira P. Simoes

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About Marta Teixeira P. Simoes

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    Cinematographer
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    London

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  1. Hello, I just got the results of a telecine from a project shot on S16 and we've noticed a strange behaviour in some of the shots, specially whenever there's a sky with clouds. I'm not sure if you can spot in the images attached (the detail of the sky is a zoom in on the still), but there's vertical lines all over the sky. The lab says it's because the footage was overexposed, but still I find it very weird that this would result from an overexposure error. When I see it in movement it reminds me more of "digital" noise than film behaviour. This is a rough translation of what they wrote: "It is true that the artifacts come from the ccd cell of the TC. When the negative is overexposed less light passes through the cell. The negative is thicker. And I must increase the "gain" or iso, when I lower the ISO the high light burns. I sent two more tests with a lower ISO." I'm also attaching the other two tests they mentioned, which are completely overexposed. It could be that I did make a mistake and overexposed, but I have two doubts - if it was that bad, could they recover that much information from the sky (like in the image1 attached)? And these strange lines could indeed be a consequence of that? The post production supervisor says we should not trust the lab’s answer, and they are doing the telecine wrong in order to push us to scan. Apparently he has had this feeling before with other projects, but I would great to have another experienced view on this. Thanks!
  2. Hello, I'm conducting a super 16mm steadiness test on an Aton LTR and was wondering if anyone knows where I could download a steadiness test chart? So far I found one from a French webpage but it doesn't look like the one I know. I also take the opportunity to double check the procedure since it's been a while since I did one: 1 - 25 mm lens 2 - Make sure the chart occupies the entire frame 3 - Center the camera with the chart (use a mirror to help) 4 - Load virgin film 5 - Mark the first frame in the gate of the camera with a big "X 6 - Try to use a higher F stop 7 - Under expose 1 stop 8 - Let it run for 20 seconds 9 - Rewind the film (use a darkroom or changing bag), rethread the camera and load it so that the "X" appears in the gate to fill the frame as it did in the first pass 10 - Reframe slightly to the right/left and up/down so that the chart lines are in a different position but still parallel to each other 11 - Under expose 1 stop (again) 12 - Run the same film for a second time I'm in doubt about step number 10. The image attached is an illustration of what I meant! Thanks in advance. Best, Marta S.
  3. I just heard from the lab. Just like Satsuki mentioned, they confirmed that since it has a colored scratch it's in the emulsion. I think the director already found a way to disguise it, hopefully the footage will not be lost! Thank you all for the insights, it's been helpful. Best,
  4. It is a rental house camera. It was kept clean - we used compressed air every time the magazine had to be switched, both on the magazine and camera. We didn't do a scratch test, but we have footage from previous days of the same magazine (and camera) with no scratches. I'm not sure about the emulsion dust, but I'll check with 1st AC.
  5. Hello I just got back some super16 footage from the lab and the scan from one roll is showing scratches on the right side. I was very surprised by this, since we were using a magazine that caused no problems in previous footage on the same project. I can't think of anything out of the ordinary that might have happened during the shooting this day to cause such a big damage. We shot with an Arri SR3 that was well maintained and maybe no weird noises. I'm already double checking with the lab if this is really in the negative or if there's any chance that it's due to a malfunction during the scan but would love to get another opinion. Attached some stills where the scratches are visible. Thanks in advance for your thoughts!
  6. Hello everyone, Thank you for your thoughts, it's been helpful for sure. In the meantime I've been working on the shot list for the library scene with the director and everything became more simple, so lucky me! There will be a shot in the corridors that face the window, which is easier to control for me, and just some details of books on top of a table. Like Miguel said, the third location is quite rich so I think I also found interesting solutions together with the art director. Now I'm faced with another challenge for an exterior party scene at dawn... Maybe I can get your thoughts on this one too! Our reference for the close ups and details (that will be shot super early morning) is to have this reddish light like the images attached. I think the trick will be to also have another light, colder but still kind of soft as a back light or a fill to create the mood of early morning mixed with this red party leftover light. My fear is that my red light will be too strong and not look like the ones from the reference, that seem to also have a yellow tonality. Our location is a big open field on top of a small hill, the floor is dirt. Best,
  7. Hello, I'm preparing to shoot a low budget short, small crew and a few restrictions, shot on super16. I'm currently trying to see how I can have a versatile and not so heavy a light kit. Some of the interiors are a bit of a challenge, since they have bulbs that I can't change and that don't look so great. The first of them is a sort of library, with harsh focus on the ceiling. I was wondering what could help me ease the harshness of that light in close ups but that still feels like it belongs to that same room. On the right side of the picture there are some windows, but I don't think there's enough natural light coming in that could be noticeable on the wide shot for me to play with on the close ups. The second one is a similar problem. It's a small storage room where one of the characters will be looking for something. The last one is an office where there will be a night scene. The idea is that everything is dark and we are able to see bits of the space from the light that comes from the computer, a scanner, a fridge, some practical lamps. I know that this won't be enough and I'll have to enhance it somehow. So far I asked for some Aladdins (one 30x120 and two 30x30) but since we are indoors in these scenes I can add something else that has a bit more power, maybe 1 or 2 more sources. Would love to hear your thoughts on this! Thanks in advance, Marta
  8. Thank you all for the suggestions! The main goal is managing to do the disappearance of the character very very slowly. Even though it will be a bit of an experimental project, this shot in particular should be smooth. Which makes me more inclined not to do it on camera! I thought about the moving landscape just like Uli mentioned. Green screen is an option but I'm a bit scared because I never tried it before! I got some advice from the VFX artist who'll do the post production: make sure the green is as bright as possible, that the light hitting it is uniform and that the fabric is a bit lighter (since it's an exterior shot and it can be windy). Is there anything else I should watch out for? Thank you again, this is so helpful
  9. Hello, I'm shooting on super16 and there's a scene in the film where the caracter has to disappear very slowly in the landscape, something very similar to the Nosferatu (1922) scene attached. I'm wondering if we can achieve this just by shooting both the empty landscape + same landscape with the actress and then create the dissolve in post, or if I should do a real double exposure on camera . Looking forward to hear your thoughts!
  10. Hello, I'm currently preparing a shooting on super16mm with both Kodak Vision3 7207 250D and Kodak Vision3 7219 500T. There will be a scene in some sort of laboratory with fluorescent lamps visible on the shot (like the image attached). I would like to keep the color of these lamps a little bit bluish/turquoise and mix it with another source with redish light (coming from a machine like device). The colors I would like to achieve are something like the reference attached. The fluorescent lamps come both in 4000K and 6500K. Does this mean that if I'm shooting with the 500T stock (balanced for 3200K) and if I use the 6500K lamp without any filter, the light from the lamp will render bluish? And a red gel will be enough in the other light source? Thanks!
  11. Hello, Thank you for the great input, as always. I see how pushing to shoot the wide at the right time might be the clever solution since I don't have enough power and have space limitations. My wish and instinct would always be to use the natural light, but I guess I have to wait for the director's final decision regarding the coverage of the scene and negotiate it with the assistant director. Thanks again!
  12. Hello everyone, I'm preparing a short film with limited budget. I'm in the process of closing my light requests together with the gaffer. Of course we are looking for versatility (in the sense that the same lights will fit the different set ups) but there's one scene where I'm particularly worried about the quality of the light. I have to light a daylight scene in a leaving room where 4 women will be seating around a table. I'll start in the morning, which means that the sun won't be hitting the window but as it is now, we will continue with this location during the entire day, which means it will start coming in through the window at some point. Unfortunately, having the light outside the window is not an option. I'm thinking of placing it on the ceiling with the help of a polecat, but I also want to make sure that it will be possible to flag it and shape it around the actresses. Also, start with the wide and move for the closer shots for light continuity. My doubt is - what would be the best light to go with on this situation? I would like it to be soft and have a natural feel, but at the same time possible to cut and shape. We are looking at some led options, kinos, dedo octadome and maybe 400 HMI? Bellow there's 2 stills in black and white that are a reference, a picture of the possible framing and a picture of the leaving room. Thank you in advance for your help!
  13. Hello everyone! What a great welcome, thank you so much for the quick answers and good advice. I think I have a better idea of where to start now. The project is still a month away, but I will plan this scene keeping your advice in mind and discuss these ideas with the gaffer.
  14. Hello! This is my very first attempt of participation in a forum, so I hope I'm following the rules and that this answer wasn't replied a million times before. I'm currently preparing a short film and there's one particular scene where I would love to guarantee the kind of effect you see in the image attached - this kind of light "stain" that invades the picture on the right side. The scene I'm shooting is a woman staring into a mirror in a medium-sized public bathroom. The camera will be pointed at the mirror so what we see is her reflection. I was thinking of having a fluorescent tube as a key light above the mirror and then maybe carefully place a lamp closer to the lens to get this effect? The idea is that what's giving this light flair is the light above the mirror. Any thoughts on how could I achieve something similar? And is it also a matter of the kind of lens I'm using? Thank you in advance! Marta
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