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Saikat Chattopadhyay

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About Saikat Chattopadhyay

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  • Birthday 11/13/1993

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  • Occupation
    Cinematographer
  • Location
    India

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  1. Thank you for this informative piece!! Yes, Barry Lyndon is definitely a bliss to watch . But in the Church Scene from the blog the light fixtures were very prominent unlike this scene,even the DOP mocked about it by saying 'it was like multiple Suns out there'.
  2. Thanks for the other explanation ,that has helped a lot. The fact that confuse me is ..if the light has to go out of frame then it must be in some angle and the direction of light will be changed accordingly . So in that case Sun position will be a considering factor as well!!
  3. Hope everyone is staying safe. Kindly let me know if this has been discussed before or not suitable for this section. I was going through a blog by one DOP and he had to shoot inside a church . There were two possibilities, one to throw lights from outside or to place them inside and match direction, intensity etc. However, due to budget constraints he couldn’t rig the lights inside and placed them outside. Now in the parallel dolly shot (with windows) every light was visible but as the windows were closed it didn’t look completely unnatural. Coincidentally the director liked that shot a
  4. I believe the best bet is to rent out cameras if possible but it is just a choice. Also the Komodo has CMOS and Global Shutter using CMOS is relatively new technology. However , I am not sure how frequently one would experience rolling shutter effect (jello) in limited FPS. Even in global shutter the camera would be limited to 120, unlike a Phantom. Also 6K$ for body only and single card slot without xlr inputs, bit pricey . Moreover, it has compressed RAW formats and ProRes is limited to HQ internally. I am not trying to say Komodo is a waste or whatever, just that if I had the money I woul
  5. Let’s Kill All The Lawyers (1992) : First feature length film to be edited Digitally Some more cool facts here : https://www.premiumbeat.com/blog/fun-facts-and-dates-in-digital-editing-firsts/
  6. Thanks everyone, the idea is bit more clear now and I can plan ahead. Will run tests and check how much I can pull off . Thanks again,stay safe!!
  7. Thank you for the article, the setup seems pretty complex to me or may be I am too dumb. Still it helped me understand some of it.
  8. Thank you for the comment ,much appreciated ! One thing I noticed in all of these that the overall space is very evenly lit. Will the light feel directional when I use a single large source from one direction?
  9. I am unable to edit the post for some reason,you may use the dropbox links as well : Film: Her , DP: Hoyte van Hoytema https://www.dropbox.com/s/blfx8mr9mu97i4n/Screenshot 2.png?dl=0 Film : Portrait of a Lady on Fire, DP : Claire Mathon https://www.dropbox.com/s/n4bvxnse4lcp07j/ScreenShot 1.png?dl=0 Film: Never Look Away, DP : Caleb Deschanel https://www.dropbox.com/s/x4pbeek5yb5xgbw/ScreenShot 3.png?dl=0
  10. Please let me know if this post is not suitable or has been discussed before. I am trying to build a demo for high key interior lighting and I have found some stills from movies which mostly matches my requirements. However, I am not saying to light up a set/location exactly like them, neither I have the expertise nor the equipments. These are mostly cowboy shots and to light up this wide I need to have many lights to fill the overall space along with lighting the talents. I can rent very few lights and diffusers but I have seen overhead rigs for this type of lighting(may be wrong) w
  11. I guess Ninja V supports SDI adapter which you need to buy separately.
  12. Pardon me if I sound like a technically challanged person. What I know ,when I underexpose digital sensor I will raise the noise floor while trying to lift the shadows. So I wanna ask: Was it intentional to raise the noise to add grain to images ?(sample images look amazing needless to say and it really match film response) However, I came across other ways to match film response, either mapping grain to different luminance range or using plug ins like Film Convert or may be using Nuke (I have no idea but Steve Yedlin showed some examples) Do these processes really work for t
  13. I am not sure about my answer ,correct me please if I am wrong . In any NLE (Non Linear Editing Software),shutter speed/angle or the FPS doesn't change when you change the clip speed it will just duplicate frames (when slowing down) or blend/drop frames (when speeding up). FPS will only change when you change it manually (by re-interpreting the clip in media bin) and in that case it will adjust the duration of the clip automatically. However, if you place a high frame rate file onto a low frame rate timeline then the software will use something like "frame blending" to keep most of the da
  14. Hi, I am posting here for the first time, so little bit nervous. The topic might not be properly linked to aesthetics or techniques of Cinematography . Kindly let me know if this is not suitable subject (or has been discussed before). I was trying to dive into the term ‘ISO Invariance’ and I came across some videos and articles (linked below) which confused me even more. My understanding(might be incorrect) is that the voltage at pixel level ,when the photosite gets exposed to light, is very low and the Analog value is amplified by some factors then sent to the ADC,followed by De-Bay
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