Dimitrios Koukas

hello, Film or Video?What camera or how many ASA?Also how many FPS? It looks to me you are planning to use too much light for this room. If you don't have any special effect like slow motion or anything ? Dimitrios Koukas

Hello Bryan, I don't know the type of your camera, but is there any possibility to remove the lens and measure the angle? Dimitrios Koukas

actually, When u re using a daylight stock, the result will be almost the same as u look thru any coloured filter thru a naked eye, but not more than 3 seconds, u see the human eye has an ''auto colour correction'' installed from mother nature :) and it will try to compensate and balance the difference. Dimitrios Koukas

Thank u Boone, Yes that's an ansynchronised shuter.It just that I couldn't understand what excactly he wanted by his description, now is more clear. By the way can I ask something? How can u make the images appear in the posts and not as a thumbnail? Dimitrios Koukas

One old technic is to make a frame with your both hands , palms straith and fingers closed with only the thumbs open and their tips connected.When u bring your palms near your eye, it's a wide-angle, when u move it away, u 's going for the telephoto. But it need some experience though, no focal lenghts displayed! :) Dimitrios Koukas

Hello, If it's a low budget, u can use tracing paper instead of cine-diffusion, it will cost you much less. What time of the day you are shooting? As for the big silk frame behind the window, if it will ever been seen or not has to do with the exposure. U can burn out one window and it's background without putting anything on it sometimes. Some details of plants or things near the window they will show up though. Dimitrios Koukas

Is it this what u were talkin about? Dimitrios Koukas

Hello stephen! I believe that you are doing the direction in some commercials too? Dimitrios Koukas

And know that I was keep wondering, and used your type too, look what I ve found. Check this HMI in the flood position.Please any corrections will do just good to me, so correct me if I am wrong. Dimitrios Koukas

Hello Matt, I believe it's the aircraft lights you re lookin for?http://surplus.net/solomon/landing.htm I haven't heard of the 1350W bulb, I know that they come in 250-650W/ 8 lights chain or 4 lights chain and each lamp works at 28 voltAC This configuration is for 230VAC, so probably in LA they have a different Wattage.So ask for aircraft lights to see what u can find? They have more output and quicker ''flashing'' speeds. Dimitrios Koukas

That's a nice software, but it doesn't help a lot with light fixtures, U see it says for example tungsten light output in 1 meter, but u cannot calculate the same light for flood or spot adjustments. It's really rough. Dimitrios Koukas

To add something to it, The big advertising companies, know the differences between the different media. U can't just walk in and tell them I want to shoot this in S8! Or even DV. Only if you have examples for a specific look that you want to achieve, but either way, I would do it 35mm and then do whatever I want in the post.With the excellent technologies that we use today, that getting better and better as the time passes, there is no need anymore to shoot something on S8 to make it look like S8! More option when u use better formats. What if you do something that they finally the client doesn't like it? No way back. Can you ask to reshoot? I don't think so. Dimitrios Koukas

Hello, David, How did you shaved them down? Do u mean the metal ring? Dimitrios Koukas

First of all what film stock are you going to use? You have to learn specific details about how u will colour correct your lights or put a filter on the camera, in case you have an exterior and you are shooting with tungsten fil, or the opposite, interior with daylight film, or mixed light sources. Do you know how to form the loop correctly for the Aaton?In case some of your crew forget? Do some registration tests and lens tests, also stock tests. That's for a start. Dimitrios Koukas

I ve got another one, Jan De Bont.''Speed'' with Sandra Bullock was his first one, and succeded well. Dimitrios Koukas

Hello, Just a small advise, I ve worked with front projected lasers before, u have to flag out/cut all the light that falls on the scrim, and also don't use too much light behind it, it will ruin your effect. Just a suggestion. Dimitrios Koukas

There is a light from DHA that is called light curtain, If this is the effect you want to do?In case that u want just a really blown-up background, something like projected lights on it, u should try a huge silk frame with some parcans overhead falling on in like lines maybe? Dimitrios Koukas

Hello, Aaton XTR doesn't have a variable shutter at all, only comes with 180 degrees for countries that use 60Hz, and with an fixed shuter of 172,8 degrees for countries that use 50hz. Is there any specific reason that you want to change shutter angles? Can't u use another camera just for the shot you want? It needs some caution when u mix 16mm material though, cause you might have registration problems. And remember that the effect you want to achieve, (as mr. Mullen have allready explained) it needs to be shot at 6fps, the telecine must play 6 fps, but the recording output of the telecine should be on 24 fps.So u transfer it to 24 fps not 6. Dimitrios Koukas

Bob, Is there any possibility that someone tried to ''fixed'' it? Dimitrios Koukas

Is it getting political? This topic I mean. What you can do is use an archtects software to do the floor plans and then add some fixtures , but a I don't know if there is a program that has fixture's FC outputs, only some by osram, but this isn't for cinematography use, just for domestic.Ot maybe try this link http://www.mckernon.com/ Dmitrios Koukas

Sorry Michael, I ve missed that part. Dimitrios

Christopher, what is excactly that you want to achive? If you just want a time lapse , let's say of a city that frturns from night into day, then all u have to do is let your camera shoot about half houlr from dawn to sunset. And then u load the material and run it in the post. Dimitrios Koukas

Christopher, To be honest it was a tv set-up and I really don't remember that we had a tremendous amount of Kelvin changes, but I will ask again to give you a more accurate answer. I believe that it's the physical characteristics of the fluorescent lamps to don't change the temperature while dimmed. I believe this happens bellow 40% of dimming. I am attaching you the brochure, unfortunately not saying anything about it. In a week or so I will have the first order in my hands so I can do some tests for you. The plus of this lights are: low working temperature, even softlight, great energy saving (4x55W, equals 1KW output), DMX controllable in a chain or separately dimmered, no need for extra dimmer packs,(they have one installed on each fixture).So what you do is just make a DMX loop, assign them in the same channels or separate channels (for pairing or one by one control), and then u take the last DMX cable and hook it to the lighting desk (usually at the 513-1024 port) if you have other studio lights assigned on the 1-512 channels. Dimitrios Koukas nesylite_en.pdf

:blink: :blink: :blink: Dimitrios

As I have allready suggested you, have a look for the china lanters you can found in IKEA or simillar stores, u know the round white ones covered with paper?Easy to rig and very light. This will give u a diffused more ellegant softlight that is good for filming. But I am not saying that the hard light fixtures aren't something that u can't use! This has to do with the overall aesthetical approach of your movie. I do not know where you can find the diffusion matterial that can stand heat ,I just know some brands like LEE, ROSCO, and Chris James (if this still excists).And yes it is specialised material. So depending on your location you should find a dealler for them. Basic diffusion numbers are 216, 250 and 251. Also there is always spun glass that works for the same effect and doesn't reduce the colour temperature so much. Dimitrios Koukas