Dimitrios Koukas

Try then the fluorescent camp lamp with batteries and rig it on the camera somehow if u can. Just to add some fill, carefull the colour temperature of the lamp though, I bet it will need some correction. Dimitrios

Well , I can try email you some, but believe me I am not so good at this, even my dvd show reel is a bit compressed. I don't know what is the best compression/codec ''quality wise''. Dimitrios

Yep, Todd -Ao sounds good as an option. Dimitrios Koukas

Anastasia One good thing to do is have sections of different jobs you ve done, so one can go directly to what section is interested to see from u. Each section must not be more that 2-3 minutes. So u can have documentaties section, feature films, tv adverts, commercials and so on. Dimitrios Koukas

Yes this looks much better, the whites are near to 1 volt. Dimitrios Koukas

M8, try to use two 1K or 2K fresnels on stands , for backlighting them (cross lighting).Remember the light u will use for stage left will light the stage right and opposite. and use whatever suits your needs for the front light, Kinoflo's are a nice idea but u will need two 8 banks, Is it enough depth on the stage? Try to move them toward the stage middle and toward the audience a bit more. Dimitrios Koukas

Lucita, Are you going your work for theatrical release or tv? Do you want to do special effects in it and then do a digital scanning? Cause if it's for a theatrical release and u have some simple effects like dissolves or fades, then I would suggest you to do a telecine, with keycode, and in any format, u can do it even in DV, load it 1:1 or 2:1 in an Avid or simillar editing system. After you finished your editing, you can send your negative for cutting, with the edited tape that would have the keycode numbers on, for the negative editor, and then go for printing with the finished, edited negative. Dimitrios Koukas

Lars, Nine minutes is something that can be done, when using a two camera system. One advise, and sorry for this I am sure you know your job. Use some kinoflos on stands and be prepared to run them all around the set. By the way, how many sets? 3rooms? 4-rooms? One thing I am doing that saved me a lot of time is to clamp two 300 W fresnel with tough spun on cameras and hook em on a dimmer , to use them just in tight time situations, when u need this sparkle in the eye, that lights form the ceilling would never give u.Or almost never. Dimitrios Koukas

Actually you want a setup with a single fixture or a single light source.? Cause bounching, means that you are using two light sources. Here is one of mine that I ve found sry the grab isn't so good and blurs. It is a 2,5 Kw cinepar thru 4x4 m diffusion from the left side, the right side is illuminated by a wall near. Dimitrios Koukas

Also there is a relation to the direction of pan, so there is a bigger issue when you re panning opposite the subjects direction. One thing to do, is to shoot with a bigger frame rate like 50 fps or 35fps, when u are having for example a train moving close to your lens and towards left side of your frame. If it doesn't make sense, cause of my lack of explainning things, I could try more if you have any questions. Dimitrios Koukas

And by the way, one software that is really good but not so aprecciated is Soniq Foundry's Vegas Video. Dimitrios

For a really simple cutting with classic film style effects and dissolves or wipes, I would suggest Premiere,it's more film style with, and more user friendly. Avid has it's own phillosophy, and I am still trying to figure out why it's a standart now. But as the other friends here said, it's good for you to know to use it. Agree also for the speed and quality of avid. With Unity and adrenaline Avid rocks.Don't forget to chck Final Cut though. Dimitrios Koukas

David, what is an IP/IN method? Inter-possitive inter-negative? Also I am curius to know if C.R.I. is still in use. Regards Dimitrios Koukas

How many people in the conference? I have done many of those as a lighting designer, so it's difficult do advise you if I don't know the sizes. As for the stage program what is it? Music or fashion? What is the normal program about? If you are using a switcher, by the little I know till know, I am sure that u can record in any available format. As for the aperture and focusing thing, I can't understand your concerns. Dimitrios Koukas Dimitrios Koukas

And I would make a suggestion to you personally, and please accepted as a friendly one, Try to quit your stuborn alltitude, (friendly advice even that we are not friends) cause I have the feelling that all your collaborations will suffer in the end. And I repeat, that I have no attention to offend you, just advising you. I know that it will upset you though, as I ve seen from your altitude on the previous posts. Dimitrios Koukas

3perforation_public.pdf Landon, What I am saying is that, (IF) there were projectors in the Theaters and (IF) all the developing system and printing have changed to 35-3perf, I would considering going on 3-perf. As for the simillarity to S16, I believe it would be close enough but not the same frame as S16 0.493'' x0.292 while 35-3perfs: 0.825'' x 0.446''

If it's for commercial reasons I would suggest that u rate it at 160 ASA , It will give you more bright highlights and some more details in the blacks, wich u can adjust in the telecine afterwards. With the assumption that u are using a CCD telecine and not a tube one. Dimitrios Koukas

Sry m8, Couldn't see it. No codecs for it. Dimitrios

Oops, I ve missed that part! what is the widest f/stop? What lenses can u use? Ty. Dimitrios

Mike , Thank you very much for your post, as u see on the couple the 1200 cinepar I was using as a fill allready hade made shadows opposite the sun'd direction, and I wanted to avoid beeing so unnatural, don't forget that that was with an old Bet Sp camera, with not so much latitude on the CCD, believe me it was much better when I was looking at them with my own eyes :) . As for the donuts (courambies) a traditional sweet here, it was on purpose burst out, so the eye will follow the product. Well maybe now the eye falls on the burned out candies but anyway, :) Thanks again Dimitrios Koukas

Not so many advises to give, ARRI SR II it's a very advanced camera ahead of many others like Eclair NPR or ECL, but I believe that u should look and check the Aaton's XTR prod camera too. Dimitrios Koukas

Sometimes the Art direction is what u say... bland. One script can be turn to image with many ways, it's other factors that reducing the overall quality. As u said the images are technically correct. But when everything is been shot on a ''limbo'' background, then u have some limitations indeed. Dimitrios

I ll try to upload just one commercial then. But not today. Dimitrios Koukas

Cause many shots and transfers were from old Avid systems that had be transfering to betacamSP and then back to Avid etc. Not all of it , but most is old.So when I am updating my old showreel, I am just adding the new jobs,thing is that there are too many production companies to collect all the material, or it will take me too long to do the show reel again with the master tapes, so I am using the old reel. Dimitrios Koukas

My friend u can't trust the eypiece sometimes. You need to adjust your diopter properly and this is done by removing the lens and point to some bright point of your set, then adjust the crosshair to your eye. But I would recommend a test with lenses wide open.(So you can see if the readings on the lens are accurate).If there isn't any Back focus issue, most are. Dimitrios Koukas