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Dimitrios Koukas

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Everything posted by Dimitrios Koukas

  1. 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
  2. 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
  3. 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
  4. What about the medium shots? Most of it has a lot info in the background. Dimitrios Koukas
  5. m8 I believe that this are the film strip tests that the laboratories use to check their chemicals, never heard of it from a shooting person, maybe though it has to do with that I am not at all familiar with things that people use in the States. Smpte stands for society of moving picture and sound engineers. I know the Smpte colour bars or the time code formats, but never heard anything like this. Do u mean the colour patches or grey scale by Kodak? For colour and gamma tests or density tests of your film stock, I believe that Kodak's grey scale and colour patches will work really well. Also for lens test's u can use the century optics lens test charts or similar. Dimitrios Koukas
  6. Harsh, cruel,noisy and dark, Like the scenario. I believe they blend together, wich means u got it. Congrats. Dimitrios Koukas
  7. There are some infra red lights that are made from infrared leds, U cab use them to light a scene. Are u going on infra red film or Video? Is it colour or B+W? try to search any site that has info on infra-red shooting techniques. Dimitrios Koukas
  8. Phil, we are talkin about breathing of the lens while focusing and not zooming. After all, u can make a drama with zoom-in and out in every shot if that's the decision.Who knows... Not that I do not dislike it. Dimitrios Koukas
  9. Yes, this will help a lot for a start. It's a way of starting to know about aeshtetics and the image, about framming a subject and lighting or technical principles, that u can use in the cinematography later on. For me ,if cinema is the Alphabet then the letter A is photography. Dimitrios Koukas
  10. Hello, Most of the time I have used the tiffen's Pro-mists 1/4/and 1/2,(Not the Black ones), what is their relation to similar filters in the market like Schneider optics or B+W if there is one. Thank you in advance. Dimitrios Koukas
  11. Yes, But with a bigger frame for your original. And sorry I called u steven, it's Stephen Just noticed. Dimitrios Koukas
  12. Anotherthing you can do, is to remind him politely that he is hired for 2AC job and he has to support the 1 Ac, like someone said. Many times in the airline business Crews are made from 2 captains, But always it's one that gives the orders.Many times the 1st officer is a Captain with much more hours in the same aircraft , but he stays there, and doing the job. Honestly, when my cameraman or even first AC is a D.o.P. too, I feel better. If he won't comply with your demands, ask for another one. Simple but very difficult as a decision, I know. Dimitrios Koukas
  13. Oh! Yes now I get what you mean.Some cameras that they don't have the CLS, sometimes they Do have the 1/60 shutter option, first in a row of shutter speeds. You just have to select shutter speed at 1/60 and that's it. I believe though that all the Sony camera's after 1998 or something near, equiped all pro camera's with this.(the CLS) wich works terific for PC CRT monitors. Ok but what camera our friend here is using? we just know it's a PAL. Dimitrios Koukas
  14. Ok maybe a lighting console makes sence? Something that controls your DMX controlable dimmer packs u plug your lights at, and call it as u like my friend. Dimitrios Koukas
  15. I am not sure if your eclair has a flat base, I remembered one that I was using that I am not sure if this was a market product or someone's patent. If you don't have a flat base for eclair Npr, then the tripod u wanna buy won't do your job. Also for me it looks amateur. Try something like a sachtler 25 head for a start. Dimitrios Koukas
  16. Dimitrios Koukas

    after shooting

    Have u checked your tape on any other decks? Did you have Dynamic trackin on? If the problem continues, then it's either the Tape stock, the video recorder's head azimuth, or dirt on the video head. Did you shoot near any weird equipment with radiation, or strong magnetic fields?Nothing else can come up to my mind at the moment, and I don't have a visual approach to your issue. Dimitrios Koukas
  17. Stephen, are u talkin about the ''clear scan'' system? usually CLS for Sony's. Dimitrios Koukas
  18. Indeed ''breathing'' is an issue, and very annoying.I can recall times when the director was saying : Did you zoomed? why? Dimitrios Koukas
  19. Gj Stuart, Really ellegant approach in the 3rd shot, well done, as for the kickers , they look good and add some ambient/ live style wich is great. Dimitrios Koukas
  20. That was my point Steven, there aren't unfortunately. Dimitrios
  21. Try to have with u what I use and got me out of trouble many times, A bit old though, I hope that he has a newer edition.It's ''the filmakers pocket reference'' by Blain Brown from focal press, It has photometric data of almost all the fixtures that there were available those days...1992 he-he.Most of them are beeing used till now, also check the Arri lighting site if you can find any photometric data brochures.There are many tables with FC's related to f/stops at specific ASA that u can use. Dimitrios Koukas
  22. I would like to apologise for spamming the post here, I saw after that the theme was to put one set-up!! My apologies Dimitrios Koukas :(
  23. Honestly I wouldn't have any problem going on 3 perf system for theatrical as long as I knew that all the labs and the theatre would have 3-perfs equipment.That means the optical(sound) too. Dimitrios Koukas
  24. gET ME OUT! :D :D oOPS i HAVE TO GO BACK TO SCHOOL THEN. nO PROBLEM AT ALL. Dimitrios Koukas
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