Jump to content

Dimitrios Koukas

Sustaining Member
  • Content Count

    566
  • Joined

  • Last visited

Everything posted by Dimitrios Koukas

  1. Hello Joe, I guess in the General shot the ceilling will be in the frame? If yes, then u can cooperate with the Art director and use anything that will fit in the shot aeshetically, or maybe patent some of this lights. Dimitris Koukas
  2. Honestly? Only the yellow flower macro photo has something to say. Dimitrios koukas
  3. Hello, Very nice indeed, I would probably use less light on the walls and especially for the female actor, also more direct light on her, or 45H-45V degrees and not sidelighting. A low contrast filter or soft-fx with hard lighting and some overexposure would be nice also, but try to keep the blacks rich. Dimitrios Koukas
  4. Hello, Just look for digital ballasts, most of the consumer lighting companies make them. You can dim them too.Down to 0%. Dimitrios Koukas
  5. Hello, I usually do not speak or write things that I haven't done, or tested. I see what you mean. Thanks Dimitrios
  6. Lighting from underneath, will add too much light on feets and knees. Very difficult to wipe this out in the post. Dimitrios
  7. Hello, U can use clear brand new gels in front of the lens, only if you want to change the white balance, they aren't good for shooting, they will reduce the resolution of your lens.(unless u want this). U can use ND gels infront of lights in case that u are tight in space and don't have more scrims available. To focus a gobo infront of an openface light or a difused one, u need distance from it. As far as u move it away from the light it will be more focused, and the opposite, if you want the edges of it or it's shape diffused, u move it closer.Try make your own gobos with cardboard or cinefoil. Dimitrios Koukas
  8. Hello, If you want to reproduce excactly what I see on the picture, you might have some problem with havin people walkin in different levels, so I would suggest to just shoot couples or single persons and then after you separate them (using the teqniques others mentioned above), then mix them in post. U might have too much light from the white background on them, so do not overlight too much. Just get the shapes well and adjust the luminance in the post, while as mentioned crush the blacks. U need to separate black from white, and make it look absolute, so u need to overexpose the white by 1-2 stops.Or just go for a luma key, ( just needs pure white background without so much overexposure). Dimitrios Koukas
  9. Hello, What camera do u have? I am asking you this cause in some camera's the Zebra pattern is adjustable. Or others have two Zebra patterns that u can adjust.One for the 100% of signal (white) and a lower zebra for other percentage of the signal,(like 70-75%) usefull for skin tones (white caucasian skin exposure). The zebra isn't recorded in the tape if this is what you mean, and u should avoid it only if it's set at 100% of the signal and you see it on a face for example, wich means that you are overexposing the face. For example 100% zebra can be seen on a cloud, (I hope that psychiatrists don't read this) ;) in a white table, white walls, highlights of a wet face etc. It helps you adjust your exposure, or warn you if you are overexposing too much. Try to use your eye, if it looks good for you, ignore the zebra pattern. Dimitrios Koukas
  10. I guess it is a night party? Some china balls in the set with photoflood bulbs in it will do the job, they can be hanged easily and they don't require huge wattage. If you dimm them you will get the warm look you want. Also use as many practicals as u can in the frame or near the actors, they will give a nice warm-soft look, if placed in the right places.Avoid green/blue ones.Use red, amber or orange. Dimitrios Koukas
  11. I don't know the excact type, but if you want something to use it for still photography, you should find one that takes flash readings too.Sekonic is a very reliable brand, and Minolta also. Dimitrios Koukas
  12. Aaton XTR prod, Nice S16 camera, silent.Npr is cool too but only for standard 16mm. I would suggest you go for the S16, maybe you will do a movie later on that u can blow-up to 35mm. Dimitrios Koukas
  13. I would probabaly used a hard wooden piece across the center of the open, hangin a C-clamp on it, but all has to do with the quality of the construction... U have to see it to say it's safe or not. If you can't find anything long enough to hang it to a pipe, at least chain the light to the pipes. Dimitrios Koukas
  14. Thank you David, I think that going for magic-time will save me a lot, Vision2 200T would be my main stock, so maybe push +1 will do the job. In Greece twilight lasts for about 20 minutes, and F/stops steping down (or up) really quick. I have to plan a reshoot for it, just in case. I have to check the shot's direction in relation to the sunset (or sunrise ) to be sure that I will have an even dark blue sky. We will probably add the moon after (sorry I didn't mentioned it). Dimitrios Koukas I hope that you have had a great time, not a bad idea at all, thanks! The island is Ydra, near Athens.
  15. Well, No problem, but how??? I am not so much into compression technology and video streamming. I have just followed the same rule (posting frames) like other fellow cinematographers did. Dimitrios
  16. You should try marketing and communications fields my friend, You really got the biggest attraction here!! :D :D :D :D :D :D :D Dimitrios Koukas
  17. Hello, The scene is like this: Night exterior, A well lit pool with a woman swimming in it, night party lit with candles mostly, camera is doing some crane up movement, passes a fence, leaving the pool behind, to a big, general shot of a village with narrow (really narrow streets, not for vechicles), there is a small port on the far background. I was thinking about using balloons, but I ve got the fear that would be on the frame!! Any thoughts? Musco lights (cross-lighting) is a second thought, but unfortunately the streets are too narrow to let light pass thru,so I guess I have to spread thousands meters of cables all around to light it. Thanks in advance, Dimitrios Koukas
  18. Your thoughts are so clear like petroleum gelly on a low contrast 5. Dimitrios
  19. Hello, Cinematography is Art, but technical too. Yes you should take any class that includes photography (not digital), directing, filming or scriptwriting, then u will be able to find out what u like to do most.Anything that includes fine arts is good too. As for how we get the jobs it has to do with the pottential cappabilities of each. You can make some good friendships from your class and continue together, one as a director and the other as a cinematographer or the opposite, or both. After u get some experience you can go out and start looking for any job related to the things you know. Try to experiment and don't affraid to make mistakes to your personal projects, learn from them and carry on. Dimitrios Koukas
  20. Dimitrios Koukas

    Matte box

    It depends of the wind direction! :) Matte boxes are good cause some have (if not all) rotating filter holders that you can use for pola's or graduate filters. Dimitrios
  21. Maybe you won't need the HMI at all for dv, Even an 1,2K is big for dv. If you have more than one window in the scene u can have two 1k tungsten fresnels with double CTB on hard in for each window. It depends of how big the room is. As for the hallway as mentioned by the rest posters here, keep the light coming in from one side. If it is a hotel an ambient light could be the sign outside for example. There are many types of ambient light at night, unless it has to be moonlight only. U can have a yellow street light coming in from the other side for example, it's always good to mix warm and cold light. U will definately need some fill for the close ups, and MS's, but it can be moonlight bounced off of walls. Maybe u can have it slightly warmer. If it is a yellow wall for example it could be more white bounce than a white wall! Dimitrios Koukas
  22. All this figures have to do with how you will light your negative.I have done a whole feature film with EXR 7245 and I was able to see all the grey bars on the Kodak's grey chart. But If you want all this latitude (most of the times u don't) u have to light this way. Dimitrios Koukas
  23. For TV, the only problem is that u will loose some image left and right of the frame, and for the equipment in the frame u can just zoom it in post if u can, but not more than 10% of the actuall frame. For a theatrical release u should mark your viewfinder at 1:1,85 aspect. Dimitrios Koukas
  24. Hello, Are u using a studio?Or you want to simulate this outside in the street with the car parked somewhere? For the side shot I would used some blurred brojection, in the far background,(you can easily shoot some footage and project it on a surface, canon will not have a problem neither u will need a powerfull projecor. As for the rest of lighting try the poorman's proccess posts as mentioned. Dimitrios Koukas
  25. Old stocks, tend to loose some colour characteristics too, usually the Green curve of the stock gets weaker, wich as a final result u get some magenta tint.A test is the best solution, I would suggest 30meters strip shooting colour patches and a person, with different f/stops. You will then see the tendency of the film to colour some dark areas, especially when underexposed,(all negatives do this) but the old ones maybe will do it more. Kodak is a very reliable company,I have done tests with old stocks,(1-2 yrs after expiration and the result was great), I believe that good storage is the point. Dimitrios Koukas
×
×
  • Create New...