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Marta Teixeira P. Simoes

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About Marta Teixeira P. Simoes

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  • Occupation
    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
  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 -
  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
  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... M
  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 window
  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
  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
  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 mea
  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 fluore
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