Dimitrios Koukas
-
Posts
571 -
Joined
-
Last visited
Posts posted by Dimitrios Koukas
-
-
-
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
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
-
Ok so I've read what I could find searching through the site about all these ACL issues.
I'm a Bolex Rx5 owner and the recent purchaser of an Eclair ACL. It has a 400 ft. English mag and a 200 ft. French mag. I've shot and tested with the 400 ft. mag and all is well. Steady registration, no scratches, the camera runs quiet, etc. I'm using my prime lenses I know and trust from the Bolex.
Obviously it would be a great help to have two working mags. So I've engaged in the experiments so colorfully discussed in previous threads. Basically, I bought a couple of the A-Minima loads, popped off the flanges and loaded them into my 200 ft. mag. I shot the film and the camera operates smoothly, quietly, leaves no dust or any other evidence of a problem. I haven't developed the film yet, but so far everything looks good.
I'm not sure what the controversy is at this point, but I think the previous threads have perhaps scared off some people from trying this.
I'm also interested in the issue of the ACL being able to use film of either wind. Obviously, since the 400 ft mag accepts b-wind and it's easy to get, no problems there. The issue is with the 200 ft. mag and the a-wind film. So far it's working to use the A-minima loads, but what about a b-wind 100 ft. load. For flexiblity, that would help me. I think I saw a picture in a ACL manual that had a clockwise spinning load in the feed side of the 200 ft. French mag. (is that clear? diagrams would help.)
Looking at the 200 ft. mag the feed side spindle rotates easily in both directions. Since the drive seems to engage from the take up side, it looks like the b-wind film should rotate off the spindle without any difficulty. The film path looks a bit awkward to me though, with the film bending back at a fairly sharp angle. Has anyone tried this?
The b-wind film, threaded through the French 200 ft. mag, looks as though it would take up emulsion out, and therefore be wound against it's original curve. Other than informing the lab that the film is on a 100 ft. spool emulsion out, are there any problems with this?
I look forward to your responses.
Darren
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
-
Some of your trouble can be resolved directorialy, Once you get the wide shot to establish the set, you can go in closer and get rid of all the hassle associated with lighting wide shots in tight situations.
What about the medium shots?
Most of it has a lot info in the background.
Dimitrios Koukas
-
Anyone know where to get this? I am testing out various lenses for use in an Elmo GS1200.
Thanks.
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
-
Hi everybody,
Thought I'd put this link up - it's the teaser to this feature I DPd earlier this summer - we wrapped about a month ago. It was pretty darn low budget, we shot on the XL2 with the P&S PL mount adapter and a set of ziess superspeeds, as well as a 10.5 kinoptic (I'm very fond of these lenses) and a cannon telephoto... lighting package was a couple of kinos, mostly... We shot in Brooklyn and Jersey...
hope you enjoy!
http://www.transformationsthemovie.com/tra...tions_m480.html
best,
Kitao
Harsh, cruel,noisy and dark, Like the scenario.
I believe they blend together, wich means u got it.
Congrats.
Dimitrios Koukas
-
Hi Everyone!
i have been contracted to shoot a para normal series...we plan to use infra red imaging devices to capture situations in zero light...all i know about IR is it falls below the visible spectrum..can some one guide me on IR cameras and various parametres involved in shooting IR
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
-
Hi,
I think you'll find that's a problem only with really, really cheap stuff.
And anyway, you aren't going to be zooming all that much on a drama, are you?
Phil
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
-
I'm taking Photography in school right now. Will that help a little?
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
-
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
-
Yes,
But with a bigger frame for your original.
And sorry I called u steven, it's Stephen Just noticed.
Dimitrios Koukas
-
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
-
Hi,
You need 1/60 as far as I remember. Its the same adjustment as used for tube computer screens, I think it is called Clear Scan.
I was able to do the same trick with a Z1 recording NTSC DVCAM in PAL Land a couple of months ago.
Stephen
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
-
What is a "lighting desk"? I have never heard of that one before.
The old fashion Hollywood way to create lighting is to use the big tungsten lamps with shutters or a use a carbon arc lighting machine but you'll need DC to use that I believe. Of course you'll want an experienced electrician to use that one.
Tim
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
-
I got a new motor now :)
Is this tripod good enough for Eclair NPR?: http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...AMEWA%3AIT&rd=1
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
-
after shooting
in SD
hello everone.i fell sad. last week i shot commercial which is hospital. i have not seen my work. i shot on d 30 type beta. direcor told ,the rush beta having a track l(line) on the tape.editor told .the cassate used not in properly it means no forward and rewind before shooting.but i did that one.how can i remove that one. then what might be the broplem.
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
-
Hi,
Standard Flourescent lamps and normal HMI's will flicker. By changing the shutter speed you can cure the problem.
Stephen
Stephen,
are u talkin about the ''clear scan'' system? usually CLS for Sony's.
Dimitrios Koukas
-
Phil,
What I don't like about older and very low cost zooms is breathing and the coloured edges as you pull focus.
Stephen
Indeed ''breathing'' is an issue, and very annoying.I can recall times when the director was saying : Did you zoomed? why?
Dimitrios Koukas
-
Still 3 was lit with a ringlight and two kickers. The kickers were a bit harder than I would have liked, but we were fighting an unmoveable deadline to wrap. A lot of nuances went out the window towards the end of that day!!!!
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
-
Hi,
I did not know there are any projectors that play 3 perf with optical sound. Do you have any further information?
Stephen
That was my point Steven, there aren't unfortunately.
Dimitrios
-
thanks for the help guys.
what me worries a bit is till this whole footcandle issue. how do i know how many footcandles i need ? i mean how do i know ok for this scene i need a 12k instead of a 6 k ?
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
-
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 :(
-
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
-
Sorry Dim,
That page has stuck your head into the mouth of the lion!. Look at the tables, All the quoted amounts hold true. Please remember what I said before:
* the one exception being collimated light of the type produced by lasers. Collimated light has light waves which are precisely parallel and do not spread out - and so such light does not follow the inverse square law.
Some of your lights are collomated sourses so the law does shift a litttle ( not significantly though) from the law.
Take an example light like this one in the diagram. By doubling the distance the light is a quater. Do this for any of the lights listed in your diagram, taking into account the collimated lights ALL these light hold true on the inverse law.
Tell me I didnt study 4 years of photometry for nothing? LOL
gET ME OUT!
:D :D
oOPS i HAVE TO GO BACK TO SCHOOL THEN. nO PROBLEM AT ALL.
Dimitrios Koukas
Arriglow vs. the Ground Glass
in 35mm
Posted
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