Dimitrios Koukas

Well, here's an example of the exposure data for those of you who can't get the link to work...

 

 

Specs:

 

-Roderick

Very nice,

A new great stock for blow-ups!!

Dimitrios Koukas

I can't recall seeing a Regular 8 magazine in nearky 40 years, a friend's famaily had an regular 8 mag camera when I was a kid.

He-he, I ve got one revere 8mm, a collector's item.With a spool 16mm negative.

Dimitrios Koukas

You can probably readjust a 3 chip ENG camera via the menu settings(the ENG cameras from the 90's and earlier this decade). Soften the sharpness setting all the way, and increase the contrast settings or crush the black level a bit.

 

The Hitachi Z-one C was actually DESIGNED this way, the fu**ing morons.

 

A film option would be to shoot Kodachrome 40 film.

No u can't do this..CCD's don't have the ''comet'' effect of the old tubes.

I believe it will not represent it like this.

Dimitrios Koukas

Hi , Im in the middle of buying a DV Camera, and my friends have tell me not to get the HDV (HVR-Z1) but to get a plane DVX100a , the thing is that I have worked with the DvX and I liked it and since Im making the investment Im thinking about just trowind two thousand more and get the HVR-Z1 , can somedy that have worked with the two cameras give me some advice because I havent get close to the HVR-Z1

Thanks

The only difference is that they have a native 16:9 CCD, wich is better than the ones that use 4:3 letterboxed to give you the 16:9 aspect.

I guess better resolution for the 16:9 CCD.

Dimitrios Koukas

Try getting a third projector and projecting onto foam-core for a realistic fill.

Or, he can simulate this with some lights falling on the foam core and switching randomly on and off, It is a nice idea to use a ''cooler'' light to simulate the projector's lamp colour temperature.

As for the backlight, just use a fresnel or similar light. even a parcan can do the job, how narrow or wide it will be it depends of the distance of subject to camera.

Like mr Pytlak said a bit of smoke will help a lot.

Dimitrios Koukas

We have panasonic varicam, in that adjusting of knee level is difficult to me please explain what is the knee level & what is the knee slope? please suggest me for taking good pictures.

Ok,

I will not get into details, I will just answer simple.

knee level up means details in the highlights.

Knee level down means no details in the highlights.

Be carefull for what you are doing, it affects the midtones too, wich will make the faces look like they have plaster on their faces.

All has to do with how u have lighted one scene, and what contrast ratio/ lighting ratio's you are using.

If you see knee on a vectorscope, it does exactly the same as an audio compressor to the signal.

Compresses the signal overall.

So it doesn't affect only the highlights.I affects everything that it's in this signal.

I would suggest to just adjust it with a grey scale normal exposed, and then just reduce some master pedestal (black level).

Dimitrios Koukas

HI

 

i am about to start shooting a short film and the director wants it to look like a film noir, the only problem is that it will be shot on HD. although i have a precise idea on how to light, it still i am worried that high definition wont make it look really noir...i want to use as few lights as possible, but i will be more than happy to have some expert advice or tips on how to get it right

 

thanks

Is it going to be black and white?

If it isn't use this method.Before the shooting, or when u re doing the lighting, take the colour out of the monitor.

Then go to the camera settings and ''crash'' the blacks a little bit.(reduce some of the mid tones near black in total black) It's like you working in a zonal system. Try to have both highlights and dark black areas in your shots.Use minimum light and overexpose a litle for the highlights but keep the blacks low.

That's a suggestion.

Dimitrios Koukas

I'm shooting a commercial featuring a 70's game show spoof. The client is looking for an authentic 70's TV look. I'd like to propose we consider shooting with an actual tube video camera. Any idea where I can get a hold of one to rent?

 

In high school I used what was then an old tube camera which was probably manufactured in the early 80's. Something from that era or earlier would be perfect.

 

Please respond here or send me an email at frank@veritaspictures.com

 

Thanks for your help.

Does it have to be black and white?

Can't u just shoot with a SONY M3 tube camera? It's colour ok by u can take it out in post.

It sucks! so, I guess u will be fine with the results.

Dimitrios Koukas

Hello I'm wondering if anyone has bought 2r 100' roll film from kodak and reload their own carts.

Also I have an old revere camera that seems to be working film as far as the spring seems to be working

fine. but not sure if this camera actually takes 2r film b/c inside the gate ( section that holds the 50' magazine) not the aperture theres only one crank. my digital cam not working so can't post a picture.

 

 

 

Hello,

I guess you are talking for the 8mm revere camera?

Well they used 16mm double perforated that u expose twice but in different position of the negative area!

Then this is splitted to 2- 8mm films.

Dimitrios Koukas

I have some tips at www.hd24.com

 

Mike Brennan

Very nice site,

It looked to me more like an advert for the gyro mount than for a site that has tips.

Dimitrios Koukas

I'm a fan of the little director's finders, once you get used to using one it becomes frustrating not to have it with you. There's no denying they're expensive though, I just went out and dropped $300 I don't really have on a Kish finder. My favorite thing about them is that it makes it easy to confer with the director and talk about ideas quickly without dragging the camera around behind you, you can show each other different ideas. I think of it like a sketch pad.

Well...

I remembered once a director that she wanted me to see thru her viewfinder, and she was hoolding it there 'till i put my eye to see it too, but as u can all understand it was moved everytime, so we never had a refference,

I believe a digital stilll camera is the best, for previwing and also display to others what you want, or how is it going to be.

Dimitrios Koukas

Add weight to the camera. This will give it more mass thereby being less susceptible to vibration and shake. Also consider suspending the camera with some sort of bungees. If you're holding it your body will transfer shake to the camera.

 

Oh...and, obviously, shoot with the cabin door removed!

Eric,

There are many helicopters flying out there with a sliding door, wich means there is no use of removing this door.

For the other types, it's supposed to remove the door, but only in the shooting area.This is because helicopters with the door out have to fly in a ''slow flight'' configuration and that's about 60-80 KTS wich it's a pain if you have a long route.

Also with the door removed you have tremendous amounts of noise in the cabin, that makes the trip a pain also.

SO a chopper with a sliding door is prefered.

There many things that can affect an aerial shoot.First is turbulence that comes from heat waves that going up in the atmoshpere.Something that is very common on a hot day.Second thing is a Pilot that have done this before. Pilots that haven't done it before are just going to fly the helicopter there, wich has no use for the shooting itself.

You need to brief the pilot for what you want.Wich means that we are talking for an out of budget story.

Bungee ropes can make the camera hop and hop and bang left and right in turbulence wich makes this dangerous.

If you are going hanheld, I would suggest something similar to cinesaddle, and the operator just hold the camera while the pilot does the ''pointing at'' the area u want to be filmed. The operator should use extra safety belts and also a safety rig for the camera that has to rig it in the chopper too.

If you have a non experienced pilot u have horrible results.With an open door the ball must be in the center all the time, unless you want to see yourself doing a stunt.

One good thing to do is give him an lcd monitor, sometimes it helps for experienced pilots.

I did a car following with a video camera hanheld in telephoto on a highway, I didn't left the area till I was sure I have some seconds of footage good, wich means that we done this about 6 times.

Refuelling is also a case for the chopper, u have limited time going somewhere not near a refuelling station or a moving refuelling station would be a good idea''ground vechicle support''.

As for the stedicam is ok but it needs a specialised bracket arm to hook the stedi's arm. If you have the lens less than one feet near the door then u re screwed, cause of the air that might hit the lens, and make the steadi, uncontrolable.

Dimitrios Koukas

Hi,

 

Later in the year, I'll be going to Asia to do some shooting for a documentary. Part of that will be getting some aerial shots of a site from a helicopter, which I've never done. Any input folks have on maintaining a stable shooting platform or general issues to be aware of would be very welcome.

 

I'll be shooting miniDv (Canon GL2) and Super 8 (for a period feel).

 

thanks in advance,

 

gregg

Greg,

Are u going hanheld, or you re planning to use any special equipment?

What is the duration of the shots you want? 1/2 minute? some seconds or 4-5 minutes?

Dimitrios Koukas

Im 17 and im shooting my second film soon with some of my friends, im using the only camera avalible to me its a piece of crap digital sony handycam..it uses Hi 8 tapes, and i was wondering after were done shooting, is there any way it can be changed to look like a real movie and not so "americas home video" look. - thanks

Hello,

Try to use all the manual fixtures of the camera, like iris and white balance, (if it has any), also disable the auto-gain feature if you can.It ads a lot of grain when lights are low.

Dimitrios Koukas

Hi,

 

I have just built a set for my short. It's a replica of an interview box when you visit someone in Gaol. Very small, 1.2m wide by 3m long with a big sheet of perspex in between the two characters. I will be lighting it with three redheads (tunsgten, uncorrected with 1/4 diffusion from overhead) and it is all freshly painted a cream colour..

 

The problem is there is a huge reflection on both sides and because this is an integral part of my film i do not want to be restricted by angles because of this...Is there any easy way of getting rid of these reflections? Like a dulling spray of some sort, vaseline, anything? i'm shooting in exactly 5 days so any help would be appreciated.

 

Regards, James.

Something that I forgot to tell u is tilt the perspex about 10-15 degrees towards the floor, or the ceilling, (depends on what your lights are).

Dimitrios Koukas

As I mentioned in my last sentence I'm shootin video (HDV) with Sony FX1.

Sorry, I ve missed that bit.Good Luck!

Dimitrios Koukas

Hi, I am shooting a music video in Taiwan. At first the director was excited about cross-processing but has since become nervous about the unpredictable effect, especially on skin tones.

 

I have cross-processed Fuji Velvia before, in Los Angeles, with beautiful results, and am aware of some of the challenges. For this project we chose Kodak 100D for a slightly faster emulsion as we will be over-cranking 48 - 150 frames in early morning, quite likely in overcast conditions on the beach.

 

It turns out if we want to use this film we do not have any option but to go ahead with cross-processing as there is no E-6 process available in Taiwan. I shot a roll of Velvia slide film here in Taiwan and had it cross-processed C-41 and the results were some of the worst I've ever had, really yucky green alien looking skin. Now the director is very concerned, and I am trying to figure out if we need to scrap the reversal stock all together, or if there is a way to normalize the look a little bit. I don't think he minds if the background colors are a little wild, just not the talent, a female Asian pop star.

 

My question(s) is/are:

 

Does anyone have an opinion as to whether the traditionally "warmer" Kodak stock may have less of the greenish hue in cross-processing?

 

Is it possible that using the C-41 negative print process adversely effected my 35mm Velvia slide film tests?

 

What about compensating for the green look with a magenta filter, or maybe warming it up a little with an 81EF?

 

Or, because of the unpredictable nature of cross-processing, would it be better to fix it in telecine?

 

As a last resort there are two options: (1) not to cross process and for me to fly back to Hollywood with the film and have it processed E-6, so I can deliver him a nice saturated fine-grain reversal look, or (2) shoot on a locally available negative film stock.

 

We originally wanted a very dramatic, new, edgy look for this video, but after seeing my tests, he is chickening out. I would love to be able to deliver something really unique here, so I am just wondering if anyone has any thoughts.

 

A long and wordy posting, I realize. I believe at this point I have read every discussion on this forum about cross-processing, including the links to the Kodak technical data.

 

Just wondering if anyone has ever had any luck compensating for the ugly green skin tones?

 

Thanks, any advice would be appreciated greatly.

 

Rob Baird

PS No time or money left for additional tests!

Rob,

If it is for tv use only I would go the traditional way and did ''almost'' whatever I wanted in the telecine.

Check if there is DaVinci available, or Pandora.

Dimtrios Koukas

Hi,

 

I have just built a set for my short. It's a replica of an interview box when you visit someone in Gaol. Very small, 1.2m wide by 3m long with a big sheet of perspex in between the two characters. I will be lighting it with three redheads (tunsgten, uncorrected with 1/4 diffusion from overhead) and it is all freshly painted a cream colour..

 

The problem is there is a huge reflection on both sides and because this is an integral part of my film i do not want to be restricted by angles because of this...Is there any easy way of getting rid of these reflections? Like a dulling spray of some sort, vaseline, anything? i'm shooting in exactly 5 days so any help would be appreciated.

 

Regards, James.

Use some cinefoil to cut away unwanted light that falls onto the objects.this can be done either on the light or away from it.If you have enough space and can get away from the light's heat, then u can just use some black carton.Or streched black cloth.Do not put them near the fixture by any means.

Dimitrios Koukas

I would actually, if it happens to be true.

Well, like someone else said in this posts, it worked fine, there are too many people discussing about it and also for the brand.

That's in a way commercial success.

Many advertising companies have this strategy, like the moto ''do not buy our product'' wich works sometimes the opposite way.

Dimitrios Koukas

No!

 

It really looks like poop.

Even that I haven't seen the advert , I do believe that u wouldn't like such critic for any work that in the future u might do, or allready have done?

Dimitrios Koukas

Hello,

I ve found another one, only 4K cinepar with flood crystal +1/4 CTO, coming thru one window. As u can all noticed, exposure is for the shadows.

Shampoo commercial.

Dimitrios Koukas

Er, DI? The stock savings would easily pay for a film out and DI.

 

keith

I am working in the advertising eleven years now and I would definately suggest this if it's for tv, but I am not going to if it is for theaters.

DI is in a really good track and it's allready established, but for me it can't compare with a contact print.

Dimitrios Koukas

penelope

 

I see your a 2 perf lady?

 

Keith

The only problem with 2 perfs or 3 is that they have to pass an IN/IP stage.

I would easily used this system only if I knew that it can be done without this, wich is impossible.

All the theaters are running standard 4-perfs.

Dimitrios Koukas

Hello Lorena,

Try to have a ''spine'' of ideas and what needs to be shoot so this ideas will get stronger with the image.

Sometimes u can have the material first and then add some voice over comments or super imposes of texts after.

You have a target, wich is good, and what u need is a schedule of what u should film, and it doesn't matter in what order.You can put things in order in the editing.

Just collect the material you want, either by news footage or by new footage that u will shoot and then put them together after.

Good luck.

Dimitrios Koukas

Hello,

If there is only change of fps, I suggest that there is going to be no problem, unless u want double exposures, wich the aaton still has no problem to deal with.

Dimitrios Koukas