Dimitrios Koukas

You see a bungie rope wasn't the point my friend, cause we needed the camera to stop, and believe me it stoped smoothly, cause as I said the chain that was hanging on the other side of the crane got heavier as it was going up, so deaccelerate smoothly! Really smoth like u had a mechanism or a man doing it! The rental company trusts the AC's I work with. I said it's so simple but sophisticated. No worry to crash the camera in two, we tested the whole thing with sand bags more than twice.... I can't find the footage to post it unfortunately, it was back in 1996, a tv commercial for METAXA drink. Regards Dimitrios Koukas

I can't vote by this I am sorry, I see cinematographer's that I really like are not in this list, so the voting will be short sighted. Regards Dimitrios Koukas

Century optics and OPTEX have made some really good tele converters and wide lens adapters that have been used from proffessionals, do some tests though if you are going to do anything ''extreme''. Carefull with the wide-angle converter's cause sometimes u can see the edges of the lens inside your frame. Only use them though if u don't have any other solution, or your lens set can't cover the focal length you want. Once I wanted to macro photo a finger's nail showing Greece in an earth's sphere that it was as big as my thumb, for this I have used two Angenieux lenses one 10mm pan-focus and one 50mm oposite the 10 mm.(DOn't aske me how I set the f/stop, I just guesed it viewing thru my eypiece. It worked really well, and yes I have seen it projected. So I guess that probably there is no problem using any converters that have been made for proffessional use! Dimitrios Koukas

Brian, Did you noticed anything when u unloaded the film I was askin you, not when u have loaded it. I know NPR has a drawing on the magazine pressure plate side that says ''12 images'' and show u that u have to pull out the loop and then put it back six frames each side. One thing that u should do, is use an allready developed 16mm film and run it with the lids open, so u will inspect the correct movement. If anything looks ok then it's the pull down claw, or u haven't ''clicked'' the magazine in place. Please tell me what happened, I will be here for further help. Also u can buy sylvia's carlson, proffesional cameramans handbook from focal press, u will find many interesting things there about NPR. The take up side should have emulsion facing out, it's a sign that u have loaded properly,(no offend here). Tell me if u want me to e-mail u some scannings of the manual. Dimitrios Koukas

Mattias. I am out of subject here, I have just visited your site, very nice trailer, How long is the movie? Dimitrios Koukas u can msn me at DimitriosPilot@msn.com

Rick, You need solution for something else than the news? Or for actors that move on a set.Or a talk show? For the first,I would suggest a set of dedolights, u can very easily stick their small base on the set, somewhere just outside your frame. Also u can clamp on the set something like a Yaniro clamp, and use a flags arm as an extension.There u can rig a 500w fresnel or 300w. I hope that I have been helpfull Dimitrios Koukas

he-he, A good point there Thomas Dimitrios Koukas

Mattias I said go for the SR,wich means SILENT REFLEX and any of the three.Read better before you attack me. Like the proffesionals that make movies in the old days, or you are ignoring that there was good cinema in the old days? And by the way, I don't want u to think that I have a problem with small cameras or old cameras, I have used bollex for time lapse effects or animation work, it's just I am suggesting a camera with better lens options here. That's all. Turret cameras are also difficult to balance them for handheld shots, cause most of them are nose weighted. Some Arri SR's have a mod as S16 camera's and u can even do a blow up to 35mm and get a good screenning. Dimitrios Koukas

Are u trying to say in a political way that most of the people in this forums trying to find a job? I thought we suppose to help eachother, and especially the most advanced members the newest ones. Correct me if I am wrong.As for the show reel, well I think it lacks a D.P. sometimes ;) Dimitrios Koukas

Jaan, I guess they will use wireless mics? Anyway, we are waiting to tell us if u have the budget or not, there are many solutions as they allready posted, but depends on budget and aesthetics. Dimitrios Koukas e.g I would have sudgested 50fps, but I know it's a sound scene too.

Np, :) I am sure you know all the other ways, like scorpio heads and gyro thre axis heads, but this won't give you the random movement. Dimitrios Koukas

First of all disable the auto gain fixture , this will make your filtration work.So your shallow DOF. Dimitrios Koukas

Friend, Do u mean that the dogs that put in the luggage, flying in a non pressurised cabin? Or cows , chickens or anything? Sorry friend, the whole aircraft is pressurised.Believe me I ve got a Private Pilot's Licence, PPL.The airplane needs to be pressurised equal to 6800ft atmosphere. Dimitrios

What Eclair? The NPR or the ECL? What u are telling me here is a bourage, the inability of the magazine to properly pull down the film. Haven't u heard any weird noise while shooting? Was the film came out nicely? Did the laboratory noticed anything? If your film is ok and has not bends or scratches then it's an unsufficient loop. Tell me what Eclair you have to tell u the loop. DImitrios Koukas

If you want a high speed lens there is one angenieux 50mm for 16mm at 0.95. I am not sure if you can find it anywhere though, I have one in my inventory. It's a C mount for Eclair NPR. Why not use Pro-Mist or anything similar? Dimitrios Koukas

John, Do u have to track in to an CU , or you can cut? Usyally u can ask the actors for the close ups to smooth down a bit, I am not sure if smaller shutter will help. Funny thing is that most of the times the close-ups usually happens in the end when they stop to take a breath till carry on in the GS. Is it a stedicam shot? Dimitrios Koukas

Here is an example. Dimitrios

Switchable yes,but are u saying that has a 4:3 ccd that is letterboxed? If this is so, then I am takin back what I was just said, And thanks. Fact is that when u see the WSP or W in the end u re sure that u can shoot 16:9. Dimitrios Koukas

Sounds cool. The problem with all this, is that when u have to follow the subject in a room it's quiet annoying, either ways, my way too. Other thing u can do is having her holding her spotlight everywhere she goes! Just jokin. Dimitrios Koukas

Just for Aesthetics, if you know what it is? Dimitrios Koukas

Sorry I was just beeing proffesional, didn't knew that u shoot your holidays on 16mm Dimitrios Koukas

There is no problem shooting at the sun at all, If you just always pointing at it with your iris set to a diaphragm that is appropriate. Go with the high definition camera. If the sun could burn the ccd, then why not a highlight on a scene wouldn't do the same? All has to do with the amount or strength of light that falls on to the ccd. U can have an extended shot of everything, if it's normal exposed. Dimitrios Koukas

M8, usually all the Sony cameras have the W after their type, wich goes for Wide, Some 570's for other counties may go only 4:3. Do u see the W after? Dimitrios

OOOPPPSS!! Don't go with a news camera-light on camera! One thing you can do, is to use a theatrical light or a fresnel light, let's say 1k, above your camera, and if you want the spot light effect the cut a circle on a cardboard, and place it away from your source. you can have the circle focused or diffused by moving the cardboard close to the light source for softenning edges, or away to make it more visible. In case that the actor is moving a lot use the same technigue with a 500W fresnel on camera, but with the cardboard ahead of it. I bet you can find a way to rig it to where u want. Dimitrios Koukas

Hey Algis. Some production tips for a feature film: 1. Find a good script 2. Find the best cast 3. With the cast you go for sponsors 4. With the cast and sponsors go for more funds 5. When u ve got the funds the cast and the sponcors, find a crew. 6. If you ever do the movie try to screen it, the sponcors won't give you anything if u wanna screen it in your living room.You see everyone needs a motivation. The actors, the sponsors, even KODAK or Fuji needs some. Regards Dimitrios Koukas