Dimitrios Koukas

Yeah, me too. SEL, Night VFR.

Are those David Clark's you are wearing in your avatar?

:)

Indeed! Happy flying m8.

Dimitrios Koukas

Diffusion filters tend to come in two basic varieties; those that have a light-scattering substance in the glass, and those that have a texture to disturb the light path on the way to the lens. There are some that do both, and with different color qualities as well.

 

In general the light-scattering type like Tiffen's Pro Mist cause more flare or halation in the highlights than they do softening to image, relative to the filter's strength. They also lower the contrast more as you increase the strength (White Pro Mist fogging the blacks the most). Schnieder's equivalent are called "Frost."

 

The textured type uses the surface of the glass in the form of bumps or "lenslets" to diffuse the light path. These filters tend to soften or blur the image more than they cause flare or halation, and usually don't alter the contrast at all. Tiffen's version is called "Soft FX," and Schneider's are called "Classic Softs."

 

http://www.tiffen.com/results.html?search_...t=Larger+Format

 

http://www.schneideroptics.com/filters/fil...fusion_filters/

Thanks Mike,

Is it supposed that the schneiders are using better quality optics? (glass).

Dimitrios Koukas

If the window (not sunlight coming through the window) is warm, it won't be "blown out", it'll be orange with no detail. If you want it to look like sunset warm outside, you'll need to see something out the windows (trees or whatever) that is lit warmer.

 

It's either "blown out" white or it's not. You can't warm up "blown out". You can blow out the window and add some warm sunlight through it, but the window will still be white.

 

If you do blow the window out white, one thing I try to do is burn it so bright that it eats through the middle of the blinds or panes... or whatever. Somehow this helps me feel like it wasn't shot on a stage.

 

Justin

Justin m8,

In case I will ever do a shoot there, u will me my gaffer!

Actually u are 95% true here, in the other 5% I would suggest to just black out all the outside light, by making a box out of anything,(black cloth or even the ones I like to use (foamcore material ) and then just put some readheds on dimmers with golden amber (or lighter) gel.

In case that you want to have the light and the colour pass thru the window and light some parts of the scene, then u have to mimic this with lights in the set, above the windows.

Dimitrios Koukas

I will be shooting during the day on location and want to warm up the outside light so it looks like late afternoon or early morning. Should I balance the inside of the room with 56k and shoot a 10k at the window or should I balance for Tungsten and put a 1/2CTO on the 10k. Is there any other gel that gives a realistic warm afternoon look on a Tungsten balanced light.

 

Thanks for the info on blowing out 2/3 stops possibly even 4. I will do that.

 

I am finishing for Video, but want to have a good negative in case we raise more money to make a print.

 

Brad

There is no need for such a big light from outside if you want the afternoon /sunset colour on the windows.

And I have answered your question about blow out the windows.

This is a different effect that you want to achieve, so u need just as little light to colour the paper that u will use on them. And better have it reflected form a big white surface to make 45degrees, on the paper.

This is a good way to have it evenly lit.

Amber gels is what you re lookin for,here are the numbers.

104,134,135.

And yes, u must use a daylight white balance, if you don't filter the lights (or little filter them) from the window, or a tungsten balance with the gels.

Dimitrios Koukas

Hi guys,

 

I am not on no trust found and am actually struggling in renting this gear :unsure: and am therefore hoping to find a best solution for me...

 

I have come across some Hamilton & Baker lights that use 2.5K bulb in them and am wondering if i should get them?? I think I can get two of these and save me some rental cost. I also think I will be able to sell them afterwards... just wondring what you thought of these particular lights??

 

I also think they are able to take 5K bulb, but am not 100% certain on this. Perhaps someone can confirm this?? If I had 2.5K bulbs in two of these lights, could i manage to run them on a modern house electronics here in Brissy, Australia - say if I get them sourced out to two different circuits?

 

Ill still try and get myself set-up along the idea Dimitrios suggested:

• 1200W cinepars x 1
   
  
• Kenos - I will rent from Premier (4foot)
   
  
• Redhea kit I could borrow from a source - but not on daily basis
   
  
• and these two Hamilton and Baker lights with 2.5K bulbs (one for each) and one 5K bulb to interchange
  

If anyone can suggest something, weather it be against the Hamilton & Baker lights or for, it would be appreciated. I kind of just want to have some lights that I will always have on me, for the production is shot on deferred payment with actors and crew and will be hard to schedule around - so we might end up having to rent lights for a period of over 40 days... you know what i mean... so i thought, if i own at least 2 lights myself, i could save a boundle. Do let me know if these lights are no good though... they have 20Amp connectors on them...

 

Many thanks guys!

Hello,

If your current is 240V then us hould use a socket with 16Amps or more to light a 2,5 KW.

As for the type is: Volts multiply by Amps , eguals Watt.

So you have Watt divide by Volt equals Amps.

Remember though that you shouldn't go with the limits of the fuses.

AQnyway, as I previously said there aren't any 2,5KW changeable to 5KW. (If we are talking for HMI's.

U have 2,5KW, changeable to 4KW.

Hamilton lights? The only ones I know are for marine/aquarium insalments, I am not sure if they have anything to do with filming, unless it's underwater, or you will use them for specific reasons,or over frames of diffusion.

Anyway,

the list that I have suggested you was with one 2,5 KW and 2 x 1200W cinepar's among with the kino's, redheads, fresnels 1K and blonds.

Since your stock is tungsten, be sure to have much of CTO correction gels with you all the numberes 1/8, 1/4, 1/2 and full.

Dimitrios Koukas

Hey Guys & Gals,

 

If it best to use a mirror and reflect hard light off off a low plane of water, or is it better to shoot throught a clear glass container and have the water moving.

 

 

Thanks

 

Aaron Berns

Aaron,

I will go with the first, light some broken mirrors, in a low plane of water, and move this too.

Dimitrios Koukas

I plan on shooting a short soon that takes place exclusively in a park, in and around a park bench, and I want it to look bright and warm, but very natural. My basic plan is to cover the action with a large frame of diffusion, and go from there, but I have a few concerns:

 

1. To make it look most natural (I'm going for a very gentle middle-of-the-day look), what time of the day would be best to shoot this?

 

2. Any advice on maintaining consistency over several hours?

 

3. Any advice on keeping the background from completely blowing out, keeping in mind that the horizon line will not be completely straight, so I think that ND grads would be out of the question.

 

I plan on shooting on Kodak 7245 over-exposed by 2/3 of a stop, because I want as little grain as possible and I want the colors to be pretty bright, but I'm concerned about the contrast making it easier for the background to blow out completely. I'm willing to use a different stock, possibly Fuji's 64T for a softer look, but I still want no grain and bright colors.

 

Any help is much appreciated.

Hello there,

First of all, the diffusion frame is a good idea, it will help u control some light. Check the weather channels before u go, you might put your result in risk, if it is gonna rain or overcast clouds.

Use the frame to shadow all the area your action will be, and use reflectors to control the light wherever you want it .

This might be a little tricky though, if the bench isn't positioned in a way that u will have sunlight crossing it about it's vertical axis in relation to your POV.

I hope I have manage to make myself clear here.

Another way to control the light with reflectors is to use one R1 hard silver mirror reflector that will always point to one softer reflector.

For the close ups, things are much more easier, and more controlable.

Is there any way that u can use cinepar's ? If so just use 1x 2,5KW and one 1,2KW.

By doing this u will have your actors in the shadow of the diff frame while the ''sun'', will be the 2,5KW cinepar.

I would use the 1,2 KW as a backlight.

U will need a generator or any AC socket near.

consistency, might be a problem if you have a building in the background that characterises the sun's position, SO the most orefferable move is to do your general shots quickly and first of all, then the medium shots and CU's after.

Dimitrios Koukas

Hi all,

 

I am shooting a film and I would like recreate a blurred effect like the opening scene of Saving Private Ryan or the woman in the bar waiting in 2046 (which I think is double explosure).

 

If I open the shutter angle at 11 or even more would I be able to achieve the blurred effect or should I close the shutter angle?

 

If you can give me any idea let me know.

 

Thanks

 

V.

Just do a test without any shutter on.Tell to the house to remove it for you.

This will give something like a double vision effect though.With the motion blur.

Dimitrios Koukas

Hi Mark,

Just watched you reel on the web... you shot that war movie with two fellows in the pit - the flashk?

 

You know, that was the first film Nick Oughton showed us in the 1st year of QCA - back in 1999... and ACE of course... :D

 

I remember seeing that film and thinking, dam this collage is good! If I can make something like that by the 3rd year, I did well... It had an impact on me, I think it reminded me of some other film I once saw, something with two kids in war a japanise kid and an american kid... same kind of thing...

 

How small is this world :D

 

Since collage i've tried to learn a bit from Tony Luu, hanging out on his sets... and making my own shorts and stuff... Now im making an indi feature on 16mm - trying to get them QCA contacts back on... If you dont mind me adding your e-mail to the "news about the feature group" i could do that...

 

Cheers mate

 

PS> thanks for the generator info.

Is there any 5k HMI there?

Never heard of this.5k and 10K refers to tungsten fixtures, while 2,5K, 4K ,6K and 12K and 18K to hmi's

As far as I know.Maybe this is a new one?

But anyway I believe u are limiting your budget and the flexibility of your lighting.

Are u shooting with a daylight stock?

Then u need the HMI's more, but if you don't, you are just renting two huge sources (2,5K), in compare for kinoflo's u will use to fill in.

I would sugest 1 x 2,5K cinepar _ 2 x 1200W cinepars and the kinos.Also some redheads, some 1K fresnels.

Dimitrios Koukas

I'm shooting a ten minute short on s16, kodak 7205 for day stuff 250daylight. the look we are trying to accomplish is very similar to the one in "Being John Malkovich"(Primarily John's apartment) I want to blow out the windows and practicals, but still have the feel of naturalistic lighting.

Our plan is to put butcher paper over the windows and shoot a 10k or 5k into the back of it. Ideally it should soften up the room and have a very diffused fall off.

I haven't had the ability to do many test shoots and was hoping that some of you guys have done this before.

Am I going about this the right way, What are things to keep in mind when trying to accomplish this look.

 

Thanks,

Bradley Stonesifer

Are u going to shoot this nightime and u want it to look daytime?

Even this way, u have to put some CTB on the tungsten sources wich will reduce your light.

I would suggest to go with flicker free HmI's, that u will not have to correct them.

U will need at least a 2,5K HMI cinepar to blow up the windows, I don't know their actuall size.

I use 2,5K and 4K cinepars.

Or you can just find a house that is really into the sun, and u will know what time of the day u can have the windows in the frame.So no use of lights there from outside.Remember that u must have your windows at least 2-3 f/stops (reflected measure) above your actor's f /stop.

I hope that I have been helpfull ,

Dimitrios Koukas

Actually your light meter is not calibrated to 18% grey.

http://www.bythom.com/graycards.htm

Nate,

Very interesting, thank you.I can't totally agree, it's too sophisticated for me, I was satisfied all this years (18yrs) believing that it's similar to 18%, and it didn't affect my work either.

I guess that's why we all happy to overxpose a bit?

Dimitrios Koukas

Hi,

 

Normally I would say average Caucasian skin colour is 1 stop over mid grey.

 

Stephen

Yes,

I have to agree here, and thank you for the remark.

Dimitrios Koukas

Oh I think some directors pretty much are the project.

 

Wong Kar-wai is the project; tell me who shot what on 2046 :D

(a friend reports that WKW at a Q&A said he decided to shoot a closeup film in 2.35 to "torture Chris Doyle" I guess it worked.

 

Some collaborations are like a duet, the voices blend: Bergman & Nykvist; Hou Hsiao-hsien & Li Ping-bin; lately I think Van Sant & Savides

 

-Sam

You know that I pretty much agree here, but they are both students.

Dimitrios Koukas

Hi guys,

 

this will be a strange question. I am attempting to equip and budget myself for an indi feautre on standard 16mm film that i plan to blow up to 35mm evantualy (more about this in 16mm forum). Now, I have learned that i will be in a hot demand for some good lights, since working with slower stock and trying my best to reduce that grain....

 

So here we go... since i have really only worked with blodies, redheads, barnies, kenos and similar, can someone tell me more about HMI lights? I understand how they operate and that i will need to run them of a ballast, but wonder how that ballast gets powered (obviously not from a house hold wall outlet)... must i get a generator out too? What is the main difference between the flicker free ballast and none flicker free... if i cannot get the flickerfree stuff. I am to shoot crystal 25fps... Currently i am looking at getting some HMIs and am considering their cost difference when compared to the Tungesten sets, to have them run and all....

 

How long do the bulbs last in the HMI lights? I hear you cant kick them on and off as easy as the Tungsten lights... From some personal experience, to light an evening interior scene how many HMI lights would you use and which once in particular - 2.5K, 4K, 5K, 12K?? (if budget was no question)... say, you were working with a 200T that needed to be blown up from 16mm to 35mm. What other smaller lights do you tend to use in conjuction with the HMIs to best fill those shadows? Kenos? What spun works best with the HMIs? 512, 520s? All of these questions and many more are on my mind right now, so if you can help in any way, ill be very thankfull!

 

I plan to rent some of the HMI lights from a lighting company, but wish to have a bit of an idea of what i am getting before approaching them... hopefully you can help me out. This forum has been fantastic thus far as i got a lot of information about the blow up of a 16mm to 35mm.

 

Thanks all.

Well,

It's a matter of scenario and mood,in case you need big sources or strong sources like HMI's.

I am using them a lot when I want to blow up windows or mimic a strong sunlight comin thru them.

I rarely use them in the set, (not that I haven't done it), I remember one set that had so huge windows that it was obvious that I couldn't stop them down because of the large area I wanted to cover and a bright sun outside, so I used some 6K cinepar's thru a large diffusion frame for fill.

Also note that the bulbs life is not so big like the tungsten ones and if you read the manufacturer's specs it is reduced if you are turning them on and off.

Actually OSRAM recomends a 20minutes switching period between on and off.

One thing that u don't have to worry about them is that they don't have a ''spring'' type bulb as they are producing light by an arc, wich means they don't blow up if you accidentaly kick them, like the redheads and blondes do.

The output of an H.M.I lamp compared with the same wattage tungsten one, is 3 times more.

Cinepars are reccomended and flicker free ballasts. Cinepars have as the word says, a PAR lamp, that u can change it's beam with the set of crystals that come with every fixture.

Flicker-free ballasts are noisy ones, so if you are doing a ''synchronous'' sound shooting, u have to take them out of the set or as much the cable allows u from the scene.

Some Arri fixtures and other brands maybe, have a ballast that can accept either 2,5K-4K bulbs for the same fixture, so u can just have spare bulbs, I am usually doing this, I have the 2,5K on and the 4K bulb on the truck, in case want some more light.4K cannot be powered up by house sockets so u will need either a generator , or an industrial light house.

What else...

As for the colour correction, use a colour meter and check them before u rent them, have some minus green and plus green gels with u.The light itself needs some time to give it's full power, I believe the new generation bulbs, need about 2 minutes to give you full output.

So wait before u take a reading.

Dimitrios Koukas

Hey all,

 

I thought of this after seeing this thread, http://www.cinematography.com/forum2004/in...wtopic=9201&hl=...

 

A while back I was talking with a grip about all the different types of camera mounts they used to rig onto helicopters before the FAA was more strict about what could safely fly. What are the exact laws concerning mounts? Are some of the mount systems not qualified to be used, etc?

 

I'm not planning on gaff-taping an Arri to the side of a chopper or anything, I was just curious what the laws were compared to what they used to do in the industry, etc.

Jeremy,

Everything that is mounted on a chopper, plane or ballon,glider and anyway on anything that flyies, needs to have technical authorisation from the FAA or the CAA.

This happens for the simple reason of the rule''safety first'', that aplies to anything that flies.

So, a tyller mount or a wescam needs approval first for it's arms and brackets that support it.

As we can all easily understand a wescam with a mitchell 35mm on, weights about 140-160 kilos,

not all the aircrafts can handle this weights for simple reasons (like displacing the center of gravity).

Also there are different arms-mounts for everytype and that has to do with the airplane's or helicopter's

designing factors.

So, one company may have the arm that goes to a bell-206, but not for a hughes 600.

And this mounts/arms MUST have certificates from both the helicopter or airplane company and the CAA.

I am talking especially for the nose/belly or side mounts.

With the things that do not extend outside of the aircraft itchelf , and are less heavier than a passenger, things are just a little bit easier, but they need approval from the CAA and the pilot.

Dimitrios Koukas

Now the problem occurs with some wider, lots of panning/tilting/whipping handheld action shots throughout the forest because the environment is supposed to be consistently cloudy. We're shooting over two days cloud or sun. I've come up with a few ideas to tackle this but I wanted some other opinions in case I've overlooked something like a complete stooge, or in case there's an easier more effective way.

 

-Luke Kalteux

student

UW- Oshkosh

Luke, sorry,

I don't know why but I ve missed that part.If it's a really polulated by trees forest, I don't think there would be so much of a problem lightswise, but you have to consider colour temperature changes.

Also, it's a different think broken clouds, overcast or scatered thru the shooting day.

By my humble knowledge in metereology,(I am also a pilot), if you expect clouds in a sunny day usually come from broken to scatered to overcast during the day.Wich means that about 4-5 o'clock in a daytime u will have the overcast that u want.

So, consult the weather stations and if there is an airport near u can ask them for TAF's or METAR's.

In this way u can schedule your general shots in the mostly cloudy parts of the day.

for the sunny scenes u can use some low contrast filters to match the low contrast atmosphere the clouds give.

DImitrios Koukas

oh yeees YEEEES please, 4:3 is sooo evil, soooo unaesthetic. 16:9 is soo mich sexier :)

It has the aspect ratio of a bed. Right? :)

Dimitrios Koukas

Am tring to find a Helico Model 1 camera mount to buy. Mount to fit a Bell 206 or AS350 helicopter.

These mounts were also called Shinko mounts in Japan where they were built in the 1980's.

 

Various types of cameras can be fitted to the mount. They were often used by the ENG industy.

 

If you can help email Grant on aerial1080@bigpond.com

 

Grant.

There is one,

newly made and gyro stabilised,

check this out.

http://www.aerialexposures.com/gyroplatform.htm

Dimitrios Koukas

thanks nathan!

Remember to change the gate too ..... ;)

Dimitrios Koukas

Hi, i am no expert here, but as a guess your stock must be at least 10-15 years old, also guessing here, mag stripe will be in the area that the super 16 frame covers, so you can only shoot normal 16 and not super 16. Its probably in 360 ft lengths due to the added thickness of the mag stripe.Andy

oops!

Yes I lost that part!

My mind went directly to Stanard 16 when u said magnetic strips, so I forgot to mentioned it, sorry but u don't have the space to record S16 on this anymore!!

Dimitrios Koukas

Hey everyone, I searched the archives for some subjects that might be related and found a few hints and tips from topics not directly linked to mine, so here's my post: I'm shooting a pretty short Mini DV movie on a panasonic 3CCD cam very soon. The story takes place in a forest, pretty far from power (although a small gennie will be present). I've scouted the location during the time we will be shooting and have decided what times I want to shoot and where the sun will be for specific backlights etc.

 

Now the problem occurs with some wider, lots of panning/tilting/whipping handheld action shots throughout the forest because the environment is supposed to be consistently cloudy. We're shooting over two days cloud or sun. I've come up with a few ideas to tackle this but I wanted some other opinions in case I've overlooked something like a complete stooge, or in case there's an easier more effective way.

 

I've considered overexposing the sky to the point where it would blow out white or almost white, therefore creating a flat tonal gray/white color. The problem here is that my actors may not look right and I'd have to use a lot of negative fill (which I may not have) to bring them down. Tree cover will help, but, if sunny, will create pools of bright light when actors cross the environment. Now, I want the movie to look pretty desaturated and I'm going to do some tests tomorrow, but something I considered was white balancing on a slightly orange card and then in post taking a lot of the blue out, so that the image has a dull blue/gray look and that by taking out the blueish hues, any brightly lit, exposed sky will become grayer. This is what I'm mostly testing tomorrow, I have no idea if that will work (because I understand that I'm adding blue to the sky before I take it away).

 

I hope I explained that well enough. Any questions or clarifcation please post 'em, I'll be checking back pretty regularly for suggestions. Also, any ideas to throw into the testing mix are very welcome. Thank you all so much!

 

-Luke Kalteux

student

UW- Oshkosh

Luke,

I cannot understand what u re aimming too.

U want it to look supernatural, or sunlighted?

Or you just want a look that has grey,blue tones?

Dimitrios Koukas

Hi,

 

I think videotape will be dead long before Film. I understand VHS recorders have not been sold in the UK by 'Dixons' one of the largest electronics chains for some time! DVD's have replaced then!

 

Stephen

I have to agree here,

And just because the market's facts are proving this, I believe really soon DVD's will be dead, I believe is about three or two years since now that the hard disk recording consumer videos are replacing DVD's?

Little by little, as it will hapen with the 4:3 tv format and the tube television sets.

Plasma's in 16:9 is replacing them.In the future u could go to the video club and rent a usb hard disk.Why not?

And I keep on wondering why all this anxiety by everyone to reach film's attributes and quality or standards.

What would be the gain?

Cheaper shooting?

I don't think so.

The crew members will be the same in large productions, u can't light without electricians or u can't make a huge set-up without carpenters.

Even that we all know how to paint a surface, or nail two girders together . So what...

Dimitrios Koukas

Isn´t there anyone interested about storing the material once shoot?

Most of the people want to store their materials,

after all something that is artistic and lasts longer takes more value as the time passes by.

I don't believe that u will loose anything when makin a transfer, it suppose to be a digital recording, both ways doesn't it?

Dimitrios Koukas

Mike,

I agree with much of what you said. having said that, i feel like our production slips through many of those practical problems you discussed. We have a fair amount of turnaround time for shippling/processing/transferring film, so that is not an issue. I believe i will be using Yale Labs as i saw on their website they do reversal, and i have worked with them before with much success. The final output will be MiniDV, so cost difference is not critical between neg and pos stock (though i know there is a small difference in purchasing price and processing fees ). The classroom scene is set in a medium/large room, and as you said, i have no access to any kind of large lights. However, the reason i still think i can pull it off is that the classroom scene is very stylized (spelling? sheesh) so that in essence we have a girl sitting in the front row shmoozing over the professor. Our basic lighting scheme is to throw spots on each actor, and use tungsten 100W or 200W (or bigger) bulbs hung from china balls to just barely fill in the background. With the small lighting kit we have, i think that i can get a good exposure for each of the characters and i feel the scene will work because those two characters are the only ones we are going to see anyways. As for color correction, i won't be able to oversee the transfer, so i'll have to trust the lab to do their best, and hopefully i won't have do to much in post. just some minor tweaks. So having said all that, i still think that shooting 100T reversal is going to work practically for us. On a side note, it turns out we do have the budget for a 400' roll, so using the 7285 is once again possible. My thoughts about these scenes now are, by the time we get through the telecine and onto MiniDV, am i going to see any real noticalbe difference between reversal and negative stock? I've never had an oprotunity to test them side by side, so i am just going by what i've read/heard. I think that for the cost, and because i've never tried it, i definetly won't be cross-processing. if i could test it out first perhaps...

Now that you have more facts from me, what do you think? i feel it is possible and i'd like to do it, but do you think i am just being stubborn now? :) Thanks for your input!

Steve

Steve,

If you have the post beeing on a PC or Mac, then you don't need to worry so much about the shooting, especially if you are using a ''strong'' machine, (int terms of rendering speeds) then u can do almost whatever u like in colour and adding or redusing contrast with just adjustments of the Gamma control as a render effect.

I would use a higher stock like 200T or 250 D.

Overexposed it by 1/2 to 1 stop.And with a 1/2 promist for the CU while lower diffusion like 1/4 for the GS.

But anyway this is a general thought and after all I haven't read the script!

Dimitrios Koukas

A very basic question because I'm still learning: how do I get rich blacks in miniDV? I've only begun to experiment with video, and for now I have no access to 24p or HD. I would like to shoot low-light scenes where much of the frame falls to black, or at least near to black. What I'm getting is visual "noise" in the black areas, no doubt a symptom of what the camera sees as underexposure. Is it possible to get true blackness on a prosumer, miniDV-only camera?

Hello,

First of all disable the auto gain feature of your camera.

It must be somewhere on the menu, if you don't have this option, then u just can't.

You see consumer cameras come with this auto tools just because there aren't for proffesional jobs.

Dimitrios Koukas

Hi,

 

I just purchased about 3600' of 7240 which came in 360' rolls. I got one roll of 7250 which also came in a 360' roll. I have never heard of 360' lengths for 16mm. It also says magnetic striped. What does this mean? I would like to use this in short I am about to direct. I like the look of ektachrome for this movie. Can I use this film or will the odd length and magnetic stripe cause me some trouble? It is single perf, we plan to shoot Super 16 composed for 1.85:1. The final project will live on D5 HD tape. Thanks in advance for any info.

Chris

I am not sure if the emulsions you have bought are really fresh, or when the numbers have changed,

7240 it's a colour reversal film 125 ASA, while the 7250 is a 400Asa one, both tungsten.

I haven't heard rolls of 360 feet lately, and I am not sure if they ever excisted.

Magnetic striped means that they have a magnetic strip that u can use it to record sound for a magnetic sound projector, really common for 16 mm.

CP 16 cameras were for news gathering so u can record sound directly on them, so u had the image and sound ready to go.

I guess that is, this film is made for, unless it has the use also of a screenning positive. (to use it for theatrical release).

Dimitrios Koukas

I want to shoot timelapse stars at night using my Bolex. How can I prevent condensation from building on my lens due to the low temperatures at night this time of year? Do I need a heater?

Are we talkin about a cold winter night with no clouds?

Dimitrios Koukas

and sometimes you need to cut video into film projects.

 

i need to rent a small dv video camera to shoot "behind the scenes" shots of a fashion photo shoot. they want it to be "film-ish".

 

i also shoot docs on super-8. and i need to have a video camera to shoot some things where film is not a feasible option.

 

abel cine:

http://www.abelcine.com/Rental/frontrentalframeset.html

 

can anyone neatly articulate, to a video simpleton, the comparitive strengths and weaknesses of these three, specifically regarding the issue of film-like quality and/or superior image quality? i also need to have something that i can easily import into fcp on my g4 (!) and then deliver to an ad agency where everyone somehow knows even less than me about 24p and whatnot.

 

thanks guys

jason

In that case I would probably choose the Sony D-35W on beta SX , SP, or dvcam.It's a bit outdated so maybe u can find the camera in a logical price to rent.

It has a ''filmlike'' setup too, that maybe will give you the look, just don't forget to put the detail level to -30 if u use this setup,

it's -90 by default!

Dimitrios Koukas