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Dimitrios Koukas

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Everything posted by Dimitrios Koukas

  1. Oh I think that Ive found it : :) Sony's HRV-MU10 HDV.
  2. I have to agree with you, it is the artist not the media that makes Art. It's like we are saying that if DaVinci had different brushes would be nothing. And yes it's all good, but qualitywise that we were talkin, I would go with film.# And actually if I could change it I would probably make it 50fps both shooting and projection. Dimitrios Koukas
  3. Are u doing this alone? Or there is anyone with u that can hold a big maglite? with a carton made softbox, or u can use anything like a practical fluo camping lamp that accepts batteries. As for the colours, try to put your subjects as closer as u can to the ambient lighting.Near the lights the colours will ''pop'' especially if u overexpose by 1/2 f/stop, if this is applicable. But having the light on your back you will loose the all the background, so why not try to have the lights at your side,(left or right). This is a general thought, and that doesn't mean that you have to go with it. Many times when u going for this kind of shooting, the location and the action itself guides you. Dimitrios Koukas
  4. Daniel , Think of the younger generation that will do the one man show in the end, like u said u write down the script, u shoot it then u edit it and then you have it ready for tommorow, and then??? Dimitrios Koukas
  5. Hello, do u have any ideas about where should I look for a HD video at a quality similar to the HVR Z-1? Or where do you suggest to do the mastering transfer after the post? Dimitrios Koukas
  6. Dimitrios Koukas


    Is it IT ccd or FIT? Dimitrios Koukas
  7. Dimitrios Koukas


    The DCC can be really helpfull when u have to deal with really contrasty scenes like windows in the background, that you actually want to see what is going on out there, and also have not so much light inside or no ND to the windows to compensate. It reacts more like a film, adding more details at the highlights. In case you have an rcu or ccu, it is better to control the latitude of your image by the knee point knob.Like the other dp's here said, it compresses the signal down, same function that the knee does if u see it on a waveform monitor. Dimitrios Koukas
  8. Dimitrios Koukas

    Shooting Sun

    Mike u haven't read all my posts in this topic I guess? All this topic has to do with a close up and not a time lapse with the iris set for landscape. Dimitrios Koukas
  9. Save them for 16mm, not that I want to discourage u going on S8mm, It's just that u can be more safier with your releases.An S16 camera would be far more better , u can shoot 16mm with it if you like but also Blow up S16 for 35mm.As for the quality of S8 it's just that it has some advantages and a special grainy look, but this isn't something that u can't simulate with S166, if you use some lab tecniques. Also everywhere u go u can find labs for 16mm, but not so many for 8mm. Dimitrios Koukas
  10. As I have seen by their advert, Master Prime Arri/zeiss lenses are now here at a T1.3. Are they going to have a problem at 1.3? I don't think so... 12 lenses. Dimitrios Koukas
  11. 35mm lenses for S16 mm? No problem at all. I have many times had to go on a PL mount package for 35 mm to use it for 16 just because of warehouse availability reasons. Dimitrios Koukas
  12. Adampaul, I will choose the 18mm,35mm,50mm,100mm U will definately want the 75 mm sometimes cause I believe it's really nice for close ups. As for the lomo's and nikon differences I have no idea.Are u talking for still photography here? Dimitrios Koukas
  13. Well, yes, maybe u can use a medium tripod or a baby one on one of this. One thing that u have to keep in mind is that the wheels sometimes do some uncontrolable turns by their axis so this could ruin your shot easily. Dimitrios Koukas
  14. Is there any way that u could use gaffer tape to stick the eypiece open?Also make a hand made tap to put it on when u aren't shooting, and never take your eye off when u actually shoot. Dimitrios Koukas
  15. Dimitrios Koukas


    I remembered back in 1992 where I was replacing one D.P. that couldn't match with the production's demands so he resigned, And I really had one weekend to put everything back in order, but I have asked from the production the first week to be more ''light'' in terms of demands, so I would blend with the director and the production, It went really well and I have done the 2/3 of the final release. Also asked to see some dailies before I even started and I have discused with the director where I should change things or not. Dimitrios Koukas
  16. David, I am very glad that you have finally have found a solution with your camera crew, And thank you for keeping us informed with your posts. For me that I have some idle moments here, it makes me feel that I am on the shoot with you. Very nice posts. Dimitrios Koukas
  17. U can use black thin carton paper in case that u don't have big wattage lamps and with the rule that u will never put it on the lamp itself. Dimitrios Koukas
  18. Thanks for your reply. Are u fun of airplanes m8? I hold a PPL. Dimitrios
  19. That's why maybe a 1/4 promist will do for the candle lights scene? Honestly I haven't see this movie, I am just guessing by knowing the effect of shooting wide open with old lenses.I know it wouldn't be the same but in a way mimic it. Dimitrios Koukas
  20. All film stocks are emulsion in. It's the way u do the threading that will make your emulsion pass thru the pressure plate facing out. The take up side takes emulsion out. Feeding side is by the operators side.Take up side is on the opposite direction, right side as u look the camera.(From operators view!!) Dimitrios Koukas
  21. Only thing that I can see that it will help you is go for magic time and see if you can find a way to have the street lights on. It will give u a blue colour in the road and if u manage to use water to shine everything? Dimitrios
  22. Not a big deal, once my first AC didn't mount the lens at all (a bayonet mount ), and was hanging half out the whole scene. I have used 1/2 promist and a twelve mm lens, so I was looking thru the viewfinder this blurred misty image that I ve thought in the begginning it was the filtering+ the lenses wide open F/stop. ofcourse I have reshoot this after I ve found out what he have done! Funny thing was that' it was invissible from operator's point of view, cause the sunshade and mattebox have covered it! Anyway That's for the history of bad 1st AC's Dimitrios
  23. i have a women lying on the ground shot in a green screen, an "electrical bubble" surrounding her to incrust and the back ground will be the perspectiv of a street at night. the green screen is planed to be 15ftx12ft on the ground and 12x12 on the wall including the curve do you think it can be enouth for the street in it's depth? i'll give more news about this film if anyone is curious <{POST_SNAPBACK}> well, one thing that is a real pain is the green that will flood from the floor to your actor.Aren't there any other ways to do this? Canu have here in a mechanism or anything that she can be away from the green floor? For example once we needed to put the camera excactly above a bed, so I have suggested to put the bed on the wall to face the camera and it woked really well. what is the action behind the girl? Do u have moving actors or everything will be composited? If so, shoot the girl in a green screen but away of the floor using any support u can find for her, and do after a sshoot of just a green screen. U can composite the 2 into one and then add whatever 3d you want. Dimitrios Koukas
  24. Darren, A-wind is intended for making contact prints in the laboratory and is not for camera use.B-wind is intended for use as camera stock, and also for making optical prints in the laboratory. With the emulsion facing the camera aperture,only B-wind film will fit single-pulldown-claw cameras. Do u have any thoughts of using A-wind film for shooting and why? Dimitrios Koukas
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