Dimitrios Koukas

There is no need to apologise about your comments, if we don't know what Oron is trying to have into frame. And I didn't write that ''I don't know what are you talking about''.Did I? :) Dimitrios Koukas

Do u have special effects in the film? If you just have cuts and fades then u should just rank one light with keycode on a dv or whatever media is suitable for your editing suite, cut the negative based on the keycode and then do the colour timing on a film lab and go for blow-up to 35mm release print .(If you negative is 16mm or S16mm) This would have the less quality loss possible. Dimitrios Koukas

I agree here, that's the best option. Dimitrios Koukas

I would go with this idea, even if it's suppose to be overcast outside. Audience usually is fine with this. I am using this a lot in commercials when the sun is going down, so we have to continue shooting over night. The only problem is if the location is suitable fro rigging the lights outside the window to blow out the diffusion paper.Better use cheap tracing paper. Dimitrios Koukas

6x6 is a good choice for this lenses, One difference is that u need a filter to cover your lense.So if you have big diameter lenses you need bigger filters. Another thing that u have pointed is that sometimes the lower side of a 4x4 grad may get in the frame, not that this is noticeable ... Dimitrios Koukas

Richard, That's wicked! He-he. Interesting approach of a runner's work. Dimitrios Koukas :) :) :blink:

By my opinion, This photos seem to be side lighted with a large diffusion frame and the exposure was for the dark sides of the frame. That's why u see the ''hot spots'' of light. If you don't do it in post and u want to test it on the location, just reduce the master pedestal level to get that look and raise your exposure.You need to turn off all the store lights and blind any large windows the store might have,So ask for many meters of black cloth. It's a naturalistic approach.Light coming thru a window.Probably thru a light curtain too.So you have to mimic this.The light is about 90 degres from the bed in some shots (the bed) while for the chairs is something like 135 degrees left of the chairs. Dimitrios Koukas

Hello, As I ve seen from my book that has the International video and electrical standards I ve found this weird thing...JAPAN: NTSC 50/60 110/220 !! Wich maybe means that some have 220 and some 110.Also the frequency is 50 and 60! I hope that someone can explain this to me also.! Dimitrios Koukas

Ok, Now I ve seen what u mean, the Opteka light is definately one battery powered for on camera set-ups, but maybe you can use it on a tripod.The first one (250W), I can't tell from the description if it is battery powered too. Wich means u will definately want spare batteries to run them. And the extra batteries will mostly go far more expensive than the light itself. Anyway the 250W it's an ''openface'' source wich by my experience u will need to use it with some diffusion on, 250-251 or simillar. But I am not sure it's worth it. The suggestion with the chinese lanterns among with those two light, maybe they will get u somewhere, but not this 2 lights alone.As for the spare bulbs for them I believe that they cost too much (for your project), while the chinese ones can use just practical bulbs on. Dimitrios Koukas

Hello, I am not a prof editor, I have a 1.4 pentium at home with 512MB ram and I can run Avid express really smoothly. The problem is that for proffesional job you need RAID technology and tremendous amounts of hard disk space. I could say 800GB for a start. As for the video card u should check pinnacle for a low price, and for a sound card maybe one of terratec's. This are just suggestions and not something that must be followed. Dimitrios Koukas

Well, I ve seen them workin for 90 days controlable by dimmers and they did excellent, They have the same feel as kinoflo's but the advantage is that u can dim them.And if you hang them but dim them, you have the feelling that there aren't any ''hot spots'' in the set just even soft light everywhere, without loosing too much contrast, it's kind of like the light ''floats'' in the the set. Maybe I should go take some grabs from this work so you can see. Dimitrios Koukas

Corey, Is it a video shoot? Anyway your links came broken to me. I would suggest u to buy some chinese lanters from IKEA or similar stores at your location, and use photoflood lamps 250-500W (3200-3400 kelvin), in them. They will do your work really fine, there are a bit tricky to control though, so u will also need black paper or cine -foil to cut away unwanted light from your set. DImitrios Koukas

How much more time? Dimitrios Koukas

Stewart, that's an awfull thing to happen...what can someone say...it's sad. Dimitrios Koukas

Hello, Check their web site http://www.nesys.de/en/ And tell me what do you think? I have used them ninety days on a docu-soap opera here ''The Bar'', quite familiar in European countries. They have great output and u can have them DMX controllable, without dimmer packs, just with dmx cables in a loop that goes directly to a lighting mixer/desk DMX port. I have allready arrange the deallership here and I am waiting for the first lights to have as a demonstrator/ seller. I believe there are great for anything, food commercials, tv shows and cinema. Dimitrios Koukas

Andy, Are you taking most of the crew form here, or is there a posiibility to hire people forom there? Maybe this will reduce the overall cost, accomodation for example and air tickets. I would go for film with the 1st AC from your location as so with the sound engineer. All the others can be found on locations and probably u can do it with film. As for the telecine u need one light telecine with keycode that u can edit off line on a MAc or pc suite. This are just my suggestions, tht you don't need to follow. Dimitrios Koukas

I am not sure, if I know about what you are talkin about, but changing the aperture by 2 f/stops maybe it won't change the DOF so much that u will reach the Hyperfocal distance of the lens, to have the mountains in focus. But all this are just assumptions, we do not know the background and we don't know the lens, aslo the distance between the subject to the lens and the background. We all imagine a shot with a man and a mountain.Different people, different POV. Dimitrios Koukas

No, He has a really tight circle of friends and cooperatives, and he works with them since his first films. George Arvanitis is his DoP.Are we out of topic here? Excuse us Landon. Dimitrios Koukas

I have to agree with mr. Bass here, Frameforge is a really nice software with all the formats and lenses available. Dimitrios Koukas

New telecine mahcines, usually have the sensitivity on the ccd's to ''see'' overexposed areas (dark on the negative) and handle them really well. Dimitrios Koukas

I believe that you should do some tests, but try from 16 Asa and lower.I ve read in a recent post by mr Pytlak, that there is difference in the perforation size too. Dimitrios Koukas

Thanks, Well, you will need colour gels for the sunset effect ,If I was there I would be probably using some amber gels like the 134 or full CTO, I have done a sunset effect on a commercial and was just having the electricians move the light verticaly downwards on the tripod (not tilting it), till was out. I suppose u have to do the opposite with the HMI.But maybe you will need something smaller as a backlight,if you have space to move closer to the actor. If you use an Hmi, then flag it out and gradiently let it light the actor. I just have the feelling here that you will have difficulties with the mountain, that isn't going to be dark soon enough as your foreground will be. Dimitrios Koukas

Lav, I have the feelling that you are going for the video assist only option here, and not for the viewfinder/split to video assist. Why not buy something that is tested and works (like the door) ? Dimitrios Koukas

Well, It's more easier to make a 16mm look like S8, than the opposite. Dimitrios Koukas

Sorry, I haven't seen that video, but for me this sounds like an old ccd camera's smear problem, it was very common and it needed no extra effort, as when the camera was pointing a bright source was doing this. Dimitrios Koukas