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Everything posted by Dimitrios Koukas
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Justin, Try to see the preferences when exporting, there must be an single field exporting option somewhere or non interlaced. Dimitrios Koukas
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It's the frame itself, that needs the lights(especially for the general shots) to be further left or right of your frame,In a4:3 frame u can get your lights tighter and more near to the frame. So considering maybe use bigger sources and have your lights further away as u used to do. Also I believe that new HD cameras have better CCD latitudes, a thing that u will like. Framming also is a different story, u will have more space in your frame, that means that if u are using the 1/3 rule, you must consider having to light more area on the frame adding more ''depth'' to your pictures. I am not so good expllaining things so please forgive me if I am beeing confusing here. I would be glad to answer more accurately in further questions. Dimitrios Koukas
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Honestly, I have never sound tested both of them, but I have the feelling that it all has to do with the condition of the magazines, and the lubrication of the camera,or correct loop and threading. I have used both and sometimes I ' ve got this ''noisy'' magazine problem, wich I have had to check it as a noisy one on the mag to know when I am using it, so I have to put a cotton material on it (jacket) to blimp the noise off. U should try to do some tests with a db meter ,if you want to be specific. LTR is a very silent camera though by my experience. Dimitrios Koukas
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Examples of only one light source
Dimitrios Koukas replied to Tomas Koolhaas's topic in Lighting for Film & Video
Tomas, In the general shot it was just the angle of his head in relation to the single source.And different camera axis too.But as you noticed it is overexposed, U see the director did the telecine, so I don't know why he wanted the CU to be down two f/stops.U can see this by the brightness on his neck. The wall was white but I believe the rim on hat is from skylight.The 2.5 cinepar was with a 1/2 CTO on.That made the colour from the sky tinted blue. Film was kodak 250D.If I remember right, this shot is from 1998. No extra fill added there. I didn't even moved the light at all. Dimitrios Koukas -
White Balance
Dimitrios Koukas replied to a topic in Students, New Filmmakers, Film Schools and Programs
Chris, I am using presets most of the time too, consider it like you are using a film stock, It's not bad at all and helped me a lot of times. I am white balancing when I have to deal with mixed light sources (colour wise). If you use the 3200 preset and u put any gel on the lights like u do when shooting on a film stock, then the gel effect will be there. And yes, if u want this special ''tint'' , u can use whatever filter you like , either infront of the lens to white balance with it on, or u can have the tinted blacks if u like ''like the skiped bleach proccess'', by using just an RCU unit. Also I am using the cal-colour gels, if I want to trim a specific colour on my pictures.(infront of the lens and I am white balancing) Try this, u will love it. And believe it or not, proffesionals use the camera's preset, (when in a single camera shoot ). Dimitrios Koukas :) -
I guess you are going for a scan? What positive stock are u going to use? Dimitrios Koukas
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Examples of only one light source
Dimitrios Koukas replied to Tomas Koolhaas's topic in Lighting for Film & Video
Very nice Stephen, and I was about to ask you why you didn't use a pola!! :) :) :) Dimitrios Koukas -
Really? That's interesting, and how he sees what is happening outside of his frame? Dimitrios Koukas
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help! a compactflash card is about to erase
Dimitrios Koukas replied to Delorme Jean-Marie's topic in General Discussion
Hello, How was the weather? was it a bit dusty? anyway, one reason that might have caused this is by removing the card or inserting it while recording. But I hope that it isn't this and it is the enter button that maybe has sand. Can u do other functions with the menu? I mean can u ''enter'' things? Have u cleaned the pins? Dimitrios Koukas -
The thing is, that if you have frames overlapsing here, this will also make some unwanted flares pass to the image, especcialy if you use pro-mist or simillar filters. Why not try and make a new gate with the proper dimensions? Or even find one? I would suggest u to use a proper camera for a proper shooting. Dimitrios Koukas
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I ve done 2 feature on S16 blow-up for 35 1:1:85. Dimitrios Koukas
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Congrats ! Dimitrios
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A make -up artist, is somebody that most of the times uses it's knowledge to achieve the director's vision.Whice means if you want no make-up at all , you also need a make up artist! Natural looking of someone is also a make up tecnique. But on the other hand, it's your choice. Now that the summer season is finishing, I am sure that you will have some actors that will have a whiter nose because of their sunshades somehow, or someone that maybe has some physical characteristics that u maybe want to point, or hide. That's some of the make-up artist's job. But also if you don't need all this or there aren't no big production demands, u can just go and do your shooting. Dimitrios Koukas
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JP, your S16 gate should have this dimensions: .493''x .292'' (12.52mm x 7.41mm.) Actually all your frame is printed for a theatrical releas, but either way 35 or 16mm projectors, do crop some of your image. So a 1:66 projector aperture has this (physical)dimensions: 0.463'' x 0.279''. Dimitrios Koukas
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I thought large formats main reason of excistance was huge magnifyings for billboards. Dimitrios Koukas
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Be nice :) Dim
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Sometimes, but this is only if you want for example to send the digital beta to be edited for tv series or anything like this, so you don't use the keycode, but this can't be ''one light'' telecine, it needs to be graded (colour corrected) efficiently.Another reason u may do this is that u will have 2 suites for editing and the one asks for digi-beta, while the other wants dvcam. Dimitrios Koukas
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Just take the negative to a telecine (if you can afford it), do the colour correction there or add grain and take it out on a HD that u can then send it for 4k scanning. Take the new S16negative and add it in your original when u do the negative cutting/editing. Then blow-up the whole thing to 35mm for theatrical release. Dimitrios Koukas
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And another thing... Be sure that the studio cameras are what you need and they don't affect your job. Check tv channel's signal with other channel's and see what is the difference, There weak stations among others that they can make your pictures look one stop down when ''on air''. Don't affraid do go high key, when it's a comedy. Dimitrios Koukas
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Examples of only one light source
Dimitrios Koukas replied to Tomas Koolhaas's topic in Lighting for Film & Video
Thanks Gordon, really appreciated. Dimitrios Koukas -
I guess it is like this, In Greece it's the same, noone ever see your reells or reading your bio's. Dimitrios Koukas
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As in previous topics discussed, go for the lowest film stock you can.50 ASA or so. This will cost you more lights but the result is far more better. Dimitrios Koukas
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This is to do reflected light readings, like the ones an SLR camera is doing. U just point this to your subject. Dimitrios Koukas
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Let's say we have a 35mm original, cut to cut and with some dissolves like 10 and some fades let's say 5 fade outs. What u would suggest, go for A-B roll, or just give the effects only for optical printing Internegative -interpositive and then ''patch'' them, (add them)in the cut to cut single roll? Would be this the best for the films quality, or the I/N -I/P would be ''jump out'' to someones eye? Dimitrios Koukas