Jump to content

Dimitrios Koukas

Sustaining Member
  • Content Count

    566
  • Joined

  • Last visited

Everything posted by Dimitrios Koukas

  1. You need to go only with the lenses you are sure that are in focus and drop the others for this production, or use higher t-stops when possible. And ok sometimes focusing thru the viewfinder is reliable, but what if you have to use a POLA and one 85N3? You won't be able to see much of your image thru this...
  2. Hello, The only thing that is quiet noticable in Jordan's video is that it's been litted overhead (you can see this by the shadows in the general shots). Is it possible for you to use the excisting lights? Do you need a lot of footcandles? I mean do you have slow motion shots? If not, use the overhead court lights (some of them) only to light the court and not the audience seats. Are you going to schedule it for daytime? Or you are shooting at night? Is there any daylight coming in that you need to cut out? Can you post a photo of the court?
  3. Nice work Ricky, I liked the ''cold'' look all the way. Pretty nice handling of the snow scenes and the night exteriors. Also liked the way your main character was lit, half bright and half dark as his personality. ;)
  4. Hi, As you well know from my previous posts I am not doing very well in explainning things :) , I am just having a weird green frame bug in my timeline and both in my rendered material, but not in trimmer window, or from an external player like VLC, when I am playng the file. Only happens when in timeline and after exporting the material. It was shot with Sony XDCAM and files were grabbed for FCP (.mov) and then converted back to MXF. The production company have re-writed/formated the blu-rays !! so now this is all I ve got to work. Any help would be appreciated. I ve tried in Vegas 8.0, 9.0 and 10.0 but with no results.
  5. Sorry for my bad English Alejandro, yes we are saying the same... There are many more factors that can affect the measurment, but it's just an advice for a quick setup. Even if I manage to have a wrong rating let's say 1/3 of an f/stop down this will make me rate a camera that is 800 ISO to 700 or something? I believe that I can make my shoot even with this.? Sorry for not beeing so accurate. Dim
  6. Dimitrios Koukas

    Tubes

    Let's make a tube camera then... Now that we don't have any software to do this... ;)
  7. Most of the times if you have an even lit gray card and a full frame of it, auto iris will not give you a measurment that is not more than 1/3 of an f/ stop up-down. 1/3 is a big difference if you are stating this, but it's very rare to get this false reading... :) And yes, I am not talking for a gray card that has been exposed to sunlight for three years... Dim
  8. If your DP has to do lighting plots, set up studio scenes and he cannot be there, just shoot on a gray card and press auto iris to get an f-stop, then rate it. Measure the reflected light from the card with a spotmeter or reflex meter, this will give you the ''iso'' for this measure. Then use this ISO to set-up your lighting plots. Otherwise, Mr David Williams is right, just use the on camera meter. Especially for landscapes. I am not using the cameras meter though, I am just using the zebra settings or a waveform to have a continuity between my scenes. E.g: 67% on actors face. Dim
  9. Dimitrios Koukas

    Tubes

    And what about the ''comet'' effect that you get shooting every single highlight?? I don't thing that you will never manage to reduce this. Dim
  10. Luis, What is the theme/scene? Is it only people? Is it a car? Do you have action? Stedicam? travellings? Dim
  11. Tiny suggestion... Shoot a frame of the background or some minute without the actor and green screen the close up. Dim
  12. Is it film? What ISO. Video HD? Which camera? Usually you will need 500 ISO tungsten if it is film, so you can have enough light from the installations that you can handle it. Try to get a permission to have access to all the lighting consoles for the robotcics/moving heads and if you are not familiar ask for the lighting person of the club to be there to help you setup some scenes, (it will be more quicker). If he or she cannot, then ask if you can see everything at least one day before the setup. Usually there is enough light for shooting, but the lights are all dimmed down, when the club is working so the owner can give the feelling he wants for his customers. So you can use the club lights to put your ''touch'' to the scene. Check how much light the club has with everything at 100% so you can get an idea what areas you need to fill or dim. I am uploading you some frames to see, that are three frames in a row so you can see the tremendous change in the scene... (sorry for the resolution).... Dim
  13. I see some tree-tops in the BG. How much overexpose for this? ;)
  14. Happy birthday from Greece David. :) All the best. Dim
  15. I was about to ask you if the painting is only oil or it has materials like gold or silver in it but I guess it's too late now isnt' it? :( Dim
  16. The only way to find if it needs calibrating is find someone with a color meter and do the same measurements. Then compare the results. Dim
  17. Absolutely stunning work. ! Liked it a lot.
  18. 700th floor from ground level (2nd floor) definately adds a challenge for the filmaker... If you want to have a relieve from the backround you will have to use low angles, I am not sure if this is desirable. Keeping the location as it is and cover it all with green background the metal surfaces will reflect too much green and cause you a problem so CGI will be hard. Why not choose a different more ''sky clear'' location? :) You only need a wide balcony with Brutalist architecture IMHO
  19. This are very nice images, the only problem I see is the quality of the lens that has a chromatic fault in the edges.... Good work.
  20. It depends on what angle you want the rim light to fall onto your subject, you can sometimes hide it behind the journalist and lower than him if he isn't moving. Or you can use two lights outside of the frame instead of one to have the balance for both sides. Another thing that you can do is leave the stand in the frame (if it's black and you are not exposing for it..) If we re talking for a medium shot just ''boom'' a china ball...
  21. Why you have to shoot there, where there is nothing to see in the background and you don't have the budget to light it? I mean.. if it's part of the scenario to be like that, then leave it as it is, but if you want to have something look like something else in the background then change the location. You can do the same in a dark room....IMHO as always...
  22. Phedon Papamichael Jr. :rolleyes: Oh! and me sometimes...but not in Hollywood lol. For some years now there is a new kind of title director/cinematographer and mostly in tv commercials.
  23. Are you recording on cartidges? This is one tricky menu, especially when you don't won't to delete yesterdays scenes... Check it out. Be sure that is unloaded before you erase it... :lol:
  24. Hi, By just using 25Fps/ 172.8 Shutter will solve your problem in most cases, be sure the sound enginneer does the same too, (if you don't recording sound on RED) it will save you some Post production. The good thing with video cameras is that you can check the flicker . If you are in a place with industrial or home fluorescent lights, try not to use more than 50Fps. They won't exactly flicker but the light will go down and up in periods. I believe by just using Normal operating mode for your shutter will do. Mode: enables one of three following shutter modes. Default selection is Normal. Normal: Shutter Speed is defined exclusively by the Shutter Speed setting. Syncro: Shutter Speed is defined by Shutter Speed, but modified by Syncro setting. Relative: Shutter Speed is defined by Shutter Speed, but modified by the capture fps. To Convert Shutter Speed to Angle Equivalent: Equivalent Degrees = (Shutter Speed x Frame Rate x 360) E.g. = (1/48 x 24 x 360) = (8640 / 48) = 180 Shutter Degrees Shutter Degrees 1/32 270 1/120 72 1/48 180 1/192 45 1/50 172.8 1/348 22.5 1/60 144 1/696 11 1/96 90 1/1000 8.6 To Convert an Angle to an Equivalent Shutter Speed: Equivalent Shutter = 1 / ( Frame Rate x 360 / Angle ) E.g. = 1/ (24 x 360 / 180) = 1/ (8640 / 180) = 1 / 48 Degrees Shutter Degrees Shutter 270 1/32 72 1/120 180 1/48 45 1/192 172.8 1/50 22.5 1/348 144 1/60 11 1/696 90 1/96 8.6 1/1000 I hope this helps. Dimitrios Koukas
×
×
  • Create New...