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Dimitrios Koukas

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Everything posted by Dimitrios Koukas

  1. I can't understand why u want to shoot anamorfic? Shoot directly on HD using your whole CCD anyway, it has nothing similar to the anamorfic squeezing that u de-squeeze in the final copy of film. Just go with 16:9 all the way, and get two copies, one 16:9 and one 4:3 leter box. After the post. Dimitrios
  2. Tim, Why not use a mini DV cam, that will help you experiment with all the angles of the same set -up? Find one that has manual Iris that u can lock it to the same f/stop, U can see the light in relation to the camera movement like this. Dimitrios
  3. Christopher You want to have the Van inside a studio and make it look like it's in the highway? Sorry my english are not so good, so I didn't get the poorman's process one as well the gag shell. If I got it then, u should use moving heads, something like the mac 500 or similar, and maybe use 4 or six of them, some in an accurate program and some from behind, to do the cars passing by trick Dimitrios
  4. Dimitrios Koukas

    Car Process

    Then m8, use 2 mac500 heads in a random prgram. This will do the trick. Otherwise if you cant afford this, then try to use 2 parcans with 2 assistants rotating them. Do you only want to light the back of the car or the front, or all?mac's are great for the whole car if well positioned. U can also simulate stores lighting form down the street by switching kinoflo's on and off. If you want to simulate a car /or cars following your car and then dissapear then use 4 mac500 two for the top and 2 for the rear. also a car turnning behind is very well done by adding two small sealed beams on a car's wiper motor! Dimitrios
  5. What do u neeed the IV for? Shooting a tv screen? Or just different fps? Dimitrios
  6. You just need a maglight with five or six batteries?, (you know the long one) and sensitive film stock or fast lences. The trick that will do the job for you is smoke.Just smoke the set. For the clos-ups just move the torches closer to the subject u want to be lit and also u can use some spun or diffusion, to spread the beam more even and not with hot spots. Dimitrios
  7. Sorry I wrote aaton XLR but I ment XTR.
  8. Eduardo, 1/48 in the strobe, doesn't match with the 24 fps, even that we set the photometer at 1/48sec. This is with the shutter on. When the shutter is off , imagine that u will have a negetive running without anything to block the light off, wich means u will also have upper and down frames overlapse. 1/48 speed in the strobe means double flashes at your actuall speed. 1/24 is the more accurate but with even that u will have frame overlapse. U see the stobe will continue light your frame, even that u see it flash! The shutter blocks away all the light so that's why we have frames Do your tests, maybe you will like the result and maybe this is what you re actually need, so why not go for it? I am sure you knew all this, it's just I am doing your check list. As for the photometer reading, either use a flashmeter, or just a photometer. Both will see the strobe, if you set the strobe rate 1/48 or above. Upper and down side overlapse is definately what will happen. Dimitrios
  9. Instead, they send me five rolls of 16mm tri x. I paid for super 8 prices, and the invoice says super 8, but the film they gave is 16. There were some simple 8 cameras that they used double sided perforation on 16mm that u shoot twice, one forward to tail and then u swap the reel to tail out to head. Maybe they gave you double side perforated 16mm? Or maybe I am too old and this film doesn't exist anymore? Just call them and explain, they will appreciate it. Dimitrios
  10. Dimitrios Koukas

    Car Process

    I need more details, Is it a backscreen projection in a studio with actors? or just the car itself? Dimitrios
  11. Also there are some small halogen lamps like the ones u use in the dedolights, that go up to 150w. and are small enough to fit it in a small fixture.(u just need to change the lamps base to do this).Also u can use a small dimmer pack, single channel to do the effect. I think this will work well and give u a bright look, in case you have too much light in the medium shot with both actors , then use some diffusion or some well placed ND gel inside the fixture,from the side that is facing the camera. The idea of having three lamps two of them on other tables left and right from the main table also looks good in the close ups of the actors, if tyou plan to do any. Good luck, Dimitrios Koukas
  12. both replies will get you there, Print a test and overexpose.Also go for a screenning, you will also notice how much of your actuall frame you will loose,(some facilities have not so accurate gates, so you might loose some of your frame in the procedure.Use a test chart with the format you will going for, let's say if it's 1:85 shoot some 1:85 lines. Dimitrios Koukas
  13. M8,this is happenning only with your camera on? or with any source? If it's only with your camera, check the male plug it has on board(the one u plug your BNC at) usually the monitor out, video out or test out. If it happens with any source then check your bnc cable, replace it, and also check the video in at your monitor. Regards Dimitrios Koukas
  14. Image ''breaths '', is usually caused by two things: 1 insuficient loop, or 2: the pull-down claw hiting the negative, so check if there are any small marks by the perforation that indicate this.I hope that we are talking for flicker free lights here, so has nothing to do with lighting? Dimitrios
  15. Dear James, In a normal exposure, wich is a reading from a grey card or from 18% photometer, the light that lits the blacks has details, and doesn't affect the Dmin of the emulsion. Best blacks for film are the lighted blacks, I know it sounds weird. U see when u underexpose 2 or 3 stops, u actually shooting something near the limits of the film. The emulsion doesn't take the light it needs to do the photo chemical reaction to produce it's best. So if u look the negative is almost the colour of the base, with no details in the blacks and no highlights. In a way we can say it fogs. This has to do with the dmin and latitude. I know I am not so good explaining things, but I hope I ve helped. Oh and about your shooting, congratulations at first and plz don't drink all this coffee, and always check that your lenses have fasten on the camera body. One assistant I was using in a shooting have let the lens loose hangin out, I was using full promist on the lens and it was a 12mm one, so I have just thought it was the filter, untill I saw it hangin out of the body! Dimitrios Koukas
  16. Cosmic Car? never heard of it. Sory I am jokin m8, but really never heard this lenses before. Dimitrios Koukas
  17. Sorry m8, I don't, but I can remember one shot with a classical guitar player , I use one 1k fresnel with 250 diffusion for him and a 1/2 cto for his guitar, splited on the same light. Another thing I did ones for a feature film is that I bounced half of an 2,5 HMI fresnel on three broken mirror pieces, that were lighting different parts of the set , while the half of it was used with Full CTB on the ceiling, to give an ambient night light impression. this shot was with Kodak 7245 (ASA 50) daylight. Regards Dimitrios Koukas
  18. Lol m8, I haven't tried all this gear but I can surely suggest something like the Sachtler 7+7 head instead of the vinten, and also maybe a bigger monitor? Something like a 14' one? Also better use the Arri pocket par instead of the pag sungun? Dimitrios Koukas
  19. To be honest m8, Better use an Aaton XLR 7 , I did a feature film with NPR and it was full of suprises! U see this cameras were great when new, but not after all this miles of footage on their backs. Regards Dimitrios Koukas
  20. Sometimes I use one light, but I put anything on it! Cinefoil, diffusion and sometimes pieces of different colour gels, to split the colour into two different sourses (of different colour) Dimitrios
  21. Friend, Are u using tungsten film? If yes, then u can just use a tungsten assymetrical fixture light (1000w)from behind like u said, with double full C.T.B. gel. I am guessing from the things u re writing that u only want the rim effect around them and not the whole background lit? There also some light available for wall wash from Mac light or similar companies that are specialists in events or concert lights, that have really wide light spread. This are using MSR lamps, that are very similar to the HMI'S so no need to gel them. Regards Dimitrios Koukas
  22. Hello there, I would be probably using 6k cinepars thru a wide softening material, somewhere in 3/4 for backlight, but really high, a crane would be great, and really far away from the scene, but for this u need something in the water! Another solution is the helion balloons, that provide soft light and are good for large areas.Also very good for backlights from high above. Your thoughts about the set up looks really good, and as long it's in the budget go for it! U need to replicate ambient light mostly, so the light of the torches will stay strong and not washed out form big sources. Do u have any shots that u will need more than 25fps? That might be tricky. What film stock u re using? or it's video? Regards Dimitrios Koukas
  23. Lol, Nice advises, most of them will do the effect, it's just what is the film sensitivity? Are u shooting 25 fps? or 150 fps? Super duper telephoto lens or a high speed one? Regards Dimitrios Koukas
  24. I believe one good one is Vitorio's Storaro's ''painting with light'', From the American cinematographer magazine book store. (I haven't finish my book yet, to suggest it to you!) Dimitrios Koukas
  25. Keney, I ve done one feature film with eclair ACL and believe me it was a really painfull experience. There have been many mods done to this cameras and some of them were from Eclair. I want you to describe me how the take up side looks like, or post a photo of it, so I will know wht type of magazines you are using, the old ones or the newest ones. The older ones have a weird mechanism with a rubber sprocket inside the take up side that attaches to the exposed! film and winds it up. This has to be about 5mm thick and not aged, if less than that then u will have a jam at about 30 meters of film. About the loop, too big will make the film ''scratch'' itself in the magazine sides, I believe the best loop side (that Eclair recomends) is 12 -14 frames, for 200' mags and a minimum of 14 frames outside the magazine for 400' mags. No problem if you easy the load with 200' on a 400', if u have a new magazine,wich I suppose you don't, (none of us have!), but If I don't have any description of the magazine then I can't be more specific. I have repaired both of the ones I was using with some new sprockets that I ve found in a video repair shop! that worked excellent. No jams no chips. Also the heavy duty motor, most of the times has to do with the currency u are providing to it, u definately want new fresh batteries or more amperage batteries that can handle the load too. Regards Dimitrios Koukas
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