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Dimitrios Koukas

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Everything posted by Dimitrios Koukas

  1. I have write down XL2 while the camera is the new XL H1 (suppose to be HD).3CCD 1/3'' !!! not even 2/3''. But either way, it doesn't make any sense, I could only use a video camera for theatrical release only for experimental reasons. Thank you very much all ,for your posts, and sorry for the inconvinience . If you have any corrections or suggestions to make for this camera please do. Dimitrios Koukas
  2. There are fluorescent lamps that u can dimmer with a digital ballast, and u can found some with a 3400 colour temperature. I believe that maybe it's late for changing it at this time? Dimitrios Koukas
  3. Excactly and thanks! Sorry k25rip, just switch the films that I was writing about the rest counts! I ve had the same problem with vision 7279 and vision 7297 manytimes! Dimitrios Koukas
  4. I have posted you three pages from a manual, have you found them? You have three posts with the same subject. Dimitrios Koukas
  5. I would suggest 250D, unless you want the corrected daylight to tungsten look.7205 is a 200ASA tungsten film. I have the feelling that the difference in grain would be unnoticeable.But the 7205 corrected for daylight (as u said) is one stop down, so it will limit your daytime in a way. Dimitrios Koukas
  6. Hello, Well... today a production office here in Greece offered me a job about a feature film, road movie style. They want to shoot with Canon XL2 (I am not sure is it out yet?),and transfer to 35mm. The total budget is 205000 euros, really sucks, but I was wondering why not do it S16 to 35mm blow up or even 35 mm? Since all is going to be day exteriors-interiors, always on the go from town to town, ( the whole theme is really shoot on the road.), and I don't see any big expences for lighting e.t.c only a car-mount, the crew will be the less possible. What do you think? Go for the XL2 or film? Total shoot will be 4 weeks.Is there any possibility that the Canon XL2 will do the job? I need some strong points to point out to the office so maybe I could change their minds. Dimitrios Koukas
  7. B)--> QUOTE(Jason B @ Oct 2 2005, 08:28 AM) <{POST_SNAPBACK}> Hi, I will be shooting about 30 minutes of V2 500 at a large venue and need some advice about exposure. This is the first time I am shooting concert footage and have a few questions. Did I chose the proper speed film? (I was afraid of underexposure, now I am thinking I might have to avoid overexposing) I have a sekonic light meter and usually meter the light with the white dome from the actors postion. Since I will not be able to stand where the musicians are how do I check for proper exposure? Do I just retract the dome and spin the head toward the stage and use that reading? There is also another head attachment that I have never used that I believe is used for spot metering things like landscapes. Should I try and use that? Also with the amount of variation from the different light sources and the constantly changing light levels, do I take different readings as setups change or do I just set one stop and stick to it? If I change locations ie. move directly next to the stage, would my f-stop change from my balconey shots? Should I then take another reading? Basically this is something completely new for me and I need advice. All of my previous film work has been under controlled situations and this just seems like chaos. I just want to ensure I properly meter for the talent. Any insight would be great, Thanks Jason, Is there any posibility for you, to do some readings before the show? When they rehearsing or anything , or when they do the lighting reh? What camera do u use? Are u familiar with 500 Asa stock? Many times if you know the stock and what u see thru the viewfinder, u can adjust accordingly to your experience. The use of a spotmeter might be a good idea, but I am not sure if u will have this time. Would you have someone with you to take the readings? Some 16mm cameras also have a photometer install, that would be helpfull. Dimitrios Koukas
  8. There are some non profit organisations, that u can work for them in a free basis, also u can sign a paper that says I will not ask for insurance rights, so it's up to you wether you will do it or not for your personal satisfaction or experience. Many universities for example are doing experimental projects that call proffesionals to help. I did the lighting design for a friend of mine in Luton England, for her Doctorate, and she covered me the ticket ,meals and accomodation. I had some great fun, we were using three video projectors overlapping eachother, that were playing Videos from 2 V-jays while all the lighting was manual and had to follow the dancer that was dancing with the random images on the projectors. A really good teamwotk cause we all had to be synchronised with everything. Video, dancer, music and lights. Dimitrios Koukas
  9. Landon, First of all if my statement about find you stuborn is over the edge, my apologies. Most of the times when we are talkin about quality in general is something that has subjective base and comes out of personal judgments or criteria. But when we are talking about quality of film or media like for example 8mm on a projected screen, versus IMAX, it's a different story I guess? It's like talkin for a clone banana and a real one. I guess then we can all be really objective about what quality means. I ve found you talking about things that you have never used and just read from their specs, seemming to know the final result? And with great confidence, pointing out to your fellows here what is good and bad. When last I have checked too, noone in this forum has your attitude. Many times David and Stephen have pointed out their facts to me, that I have accepted, cause I trust their proffesional attitude and many times I have learned things from them, and that is what makes this forum really great. Nobody here wants to look better or seem better, we are having issues that need a solution and especcially now that technology is changing rapidly with 3 new formats in HD every year. Dimitrios Koukas
  10. Ernesto, First do a shoot test whetever u do or try, One thing that will have your pictures look ''cold'', is use Tungsten film, with daylight lights. U can use one 81EF filter on the lens to keep some of the red hue in your negative, but it will look blue. Another thing u can do, is if you are using only artificial light and no daylight/sunlight at all, is to put some cine gels on the lights with the colour you like. for example some forest green gels, full or half CTB gels, on Tungsten lights also. What u want excactly though comes after testing. I was used to load cinema film on still cameras and then have them proccessed on a film lab. This can save u a lot of time and money, but I am not sure if there is any lab on your location that will do this. Dimitrios Kouikas
  11. Tomas, One thing that we could do about it, is when we do the final export, first export some SMPTE colour bars either NTSC or PAL, (depends on what u have shoot the project at), and see if the colour bars that we see on the screen look a bit ''dull'' too. Then we can readjust the gamma maybe? For me looks like a gamma problem, or master gain problem. I have had this same problem in a tv-drama series that was ofline edited with AVID Adrenaline. The master tape was about 20% down of the IRE signal. No whites, just the lightest grey bar on a zone chart for white. I have them to check with a waveform the output of Adrenaline and we ve found some difference in the input/output. About 15% of the signal lower. Finally they have adjusted it, so we saw the real thing! Dimitrios Koukas
  12. Richard, Do you smoke? :) Just joking here, u can also use incense or I believe it's also called francinsense, u know the one that use in the Christian churces. U can put a film can with some on it. It works well too, but I ve found dmuench suggestion better to be honest, just think of it as an alternative. Dimitrios Koukas
  13. Dimitrios Koukas

    X-rays

    Not a problem at all, X-ray your camera with no fear. Imagine if all the electronic devices that they pass thru x-rays, to have a problem! I bet that people will knew about it allready. http://www.xrsb.de/englisch/edigbild.htm#1 Dimitrios Koukas
  14. This is on the zebra's menu where u can adjust the low zebra and high zebra levels, remember to have your zebra button on . I believe that 70-75 % for low and 100% for high is really satisfactory, if you get used to it. Dimitrios Koukas
  15. And stop spamming the forum m8. Dimitrios Koukas
  16. Daniel, I am not sure if you did the lens mount adjustment properly, but anyway, I hope that this might help you. Dimitrios Koukas
  17. Dimitrios Koukas

    DSR 450

    Thanks Stuart, I ve just read the brochure that says excactly this. Optical ND Filter and Electric CC Filter Using the DSR-400 and DSR-450WS, optimum light and color control is easily achieved using an optical ND (Neutral Density) filter wheel and electronic Color Correction. The use of electronic Color Correction allows all filters in the filter wheel to be of the ND type, providing the operator with greater flexibility in depthof- field and exposure control. I ve misunderstand the question. Dimitrios Koukas
  18. Dimitrios Koukas

    DSR 450

    Stuart, The DVW700 camera has a different filtering set-up than the DSR450, it has two wheels, one for the 3200 and 4300 and 6300 filters and one for ND's and star filter. While DSR has only one wheel with 4 filters. 3200, 5600,5600 with ND and 5600 with heavier ND. All this are in the same rotating disk.While DVW 700 has 2 separate rotating filter disks. Dimitrios Koukas
  19. The only thing, I ve ever heard wich was true, was that the old tube cameras have this problem when changing latitudes and longitudes, just because of Earth's magnetic fields.And some times they needed calibration. Never heard of such thing though about CCD's.Inside the Earth's atmosphere. Only this is common in satelites that are in the outer space. There it has been a huge issue, about cosmic rays and ccd's. http://www.photonics.com/XQ/ASP/url.readar.../QX/readart.htm Dimitrios Koukas
  20. Dimitrios Koukas

    DSR 450

    Collin, All u have to do is to use the 2 white balance slots A and B. For A (that u will do it a 4300 Kelvin preset) use filter position 1 (3200) and do a white balance with 1/2 CTB on your lens, using 3200 lighting. This will get u near 4600 K. Then change your filter to position 2, (5600K) light with daylight source and use the preset B slot on the white balance.Use the same filter on the lens.1/2CTB and white balance. This will give you about 6300 K . So u will have actually 4 white balance presets. 1. the filter 1 on preset position, 2. 4300K on slot A with filter 1 on, 3. 5600 preset position with filter 2,3 or 4 on and 4. 6300 K with filter 2,3 or 4 on and preset B slot. Dimitrios Koukas ...maybe you will need to experiment a bit with the CTB u put on the lens, maybe it will be something more or less sometimes that u need to get the excact white balance.
  21. Now that I ve seen the videos, I am almost sure they use a 2D background, that they track it on a 3D programm. Just a blue/green screen with trackers on. So the 3D artist /animator used this background that moves in relation to the camera, makin a false 3D image.I ve did an advert like this, here is a grab. Dimitrios Koukas
  22. Just set it to 160ASA, as mr,Pytlak said. Actually the results will be better than if you expose for 200ASA. Dimitrios Koukas
  23. Adam, Standard 16 and S16 have same circle of conlusion. Dimitrios Koukas
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