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Tammo van Hoorn

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About Tammo van Hoorn

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  • Occupation
    1st Assistant Camera
  • Location
    Granada, Spain

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  1. Hi Tania I'll just share some of the conclusions i've made having tested a few Picture styles. This is purely a personal opinion and is based on a small series of tests. But it might help you. Have at look at my blog. It has a few reference stills grabbed from the footage I shot which might not give you a great idea because of the low resolution on the website, but it might be a start. http://www.tammovanhoorn.com/blog.html I was particularly impressed with the Cinestyle when grading back from an underexposed image. In certain conditions I would even be tempted to deliberately underexpose maybe 2 stops to contain the maximum highlight detail. It wasn't so great pulling back an overexposed image in my tests. What I will say is that you need to grade all your Cinestyle footage. Generally I apply a Technicolor LUT in FCP and that works for me, but its time consuming. As M Joel Wauhkonen mentioned, if you're shooting to edit quickly try a non Log Picture Style. I quite like the Marvel Cinema Picture Style. It looks great straight out of the camera and has a pretty good latitude for adjustment. The tests I did with a couple of the Canon preset styles left me a bit surprised: - Canon Standard - Very contrasty, over saturated colours and a nightmare to grade. - Canon Neutral - Correcting an under or overexposed image softened the image somewhat. I personally try and work as much as possible with the histogram as the LCD can be very misleading and I have often overexposed images. Personally, given the latitude i've seen possible in the grade, I tend to expose the histogram more to the left (under). But again that's just my own view.
  2. Hi Just rekindling this topic to see whats around..... I've been asked to look into rigging an HD lipstick cam in an F1 racing car and wondered what options are about. I've got an Iconix available to me but to record in HD I would have to somehow rig the rather large recorder somewhere in the car which is not an option. Additionally the recorder can only be powered off mains, so not practical. Because the F1 car is being used in race mode, I need to be as discreet as possible. My initial thoughts were to maybe look at the next best format and maybe record onto a HDV camera eg: Lipstick camera inputting into a Canon HV20 for example. Is this possible? The footage needs to intercut with the other HD material which will be originated from several Sony F900's set at 1080p/25P, to add to matters. The crunch is that I need the best quality possible with absolute minimal interferance to the drivers cockpit and car aerodynamics....any suggestions? Many thanks.
  3. Fantastic, thankyou Michael. Shoot starts tomorrow, so all this info is priceless. Looks like i've got a few good pointers to save into the Scene File. Thanks again.
  4. Hi Bill Thankyou so much for your response. Very helpful indeed. I noticed that you mentioned to have the camera in VIDEO CAM. Any reason / advantage to go to FILM / CAM? Also, i'm a bit worried that when i'm on 25P my pans look strobey. For panning shots if I set the shutter to 1/120 is that common practice? Many thanks again for your advice.
  5. Hi I'm not one ever to take short cuts and pride myself in preparing my jobs thoroughly beforehand. Unfortunately, an HVX200 has unexpectedly landed on my lap today and having never worked with one before I urgently need someone to reel off some standard settings / configurations which would best emulate a cine-like commercial shoot (will be for broadcast). The following would need to be taken into consideration: 1. Shooting on tape and not P2 :angry: . I guess i'm limited to 576i/50i or 576i/25P. What is the strobing danger when panning at 25P. Should I compensate with a shutter adjustment? 2. Need to set camera to 16x9. In Aspect Conv should I have it set to Letterbox? 3. In Scene File>Gamma should I set Cinelike D or V or other? 4. Any helpful hints. I'm shooting day ints and exts. Mainly landscapes. No artists ie skintones etc. A little bit of low light moody interior. We have a limited lighting package. I realise that this is totally NOT the way to go about things but this is a no budget showreel gig which has gone from 16mm to HD to DV in less than 24hrs....you know the deal. We're shooting day after tomorrow! Any suggestions would be warmly welcomed. Many thanks
  6. Hi Well, in fact the T-Rex housing was from VFG in London (now defunct I believe?) and Vantage Films in Germany have a housing for the Century snorkel. Tammo
  7. Hi Apart from the the bigger use of neg area with the ANSI groundglasses what are the differences / pro's v cons with these two standards? I've been asked to prep a commercial with a 1:1.85 aspect ratio and have the choice of both groundglasses in DIN and in ANSI. Many thanks Tammo van Hoorn
  8. Hi I've been down the low angle prism route and we had real problems with lens fogging. With all that glass and mirrors it couldn't handle the moisture. I have indeed worked with a T-Rex underwater housing which consists of a kit of varying lengths of ribbed flexi-tubing with a circular watertight optical flat which fits nicely onto the taking lens and covers the whole lens barrel. Did the job, but a nightmare to focus as a floating subject is hard to control in a macro situation. I got this housing from Vantage Films in Germany for a shoot in Spain. Give me a couple of days and i'll post you their number. As for the PL lens taking periscope I think the one you mean is the Century Optics Series 2000 MkII Periscope/Boroscope. Not as 'long' physically as the T-Rex so it might not be as practical when working from the water's surface. BUT. The T-Rex is a T7.1 lens and the Century, T4. Remember also with the Century that if you have it in boroscope mode the image will photograph upside down on the neg. Regards Tammo
  9. Hi Just wondered if anyone has had any experience with this lens and what I need to look out for. The Century website recommends that that the 'taking' lens should always be set at T2.8 (in this case an Ultraprime) and that the stop reading should be set on the periscope itself. I can't seem to find any info regarding any stoploss in either periscope or boroscope mode. Any ideas? Also the adaptor to convert to boroscope mode states on the barrel itself: "image upside down". Through the viewfinder the image appears upside down. Will it thus photograph upside down on the neg? Any comments would be warmly welcomed. Thanks Tammo van Hoorn
  10. Great! Thankyou Daniel. I've made up the groundglass now using a similar technique to yours. Having projected both the 1.85 and 2.0 g.glasses its actually come out pretty well! Many thanks again for your helpful advice. Tammo
  11. Great. Thankyou. Excellent reference site. All the best Tammo
  12. Hi The operator's side (the left-side) should be your 'default' side. From there you can see clearly all the camera functions; footage counter, menu displays etc and allows you to listen to any comments made to you by the operator when he/she is looking through the eyepiece. There are times when you cannot be that side because of some obstruction or you get a better view of the focal relationship between the camera and the subject from the right side. As for suggestions to 1st AC'ing, yes, there are books, but the best practice is to be there on set and watch, listen and learn. A little tip that will help you in later career is start to visualize distances. In bored moments at home (believe me you will have a few of these) get yourself a steel tape measure and try and guess how far you are from certain objects. Then measure it and see how you faired. Keep doing this over time and you will find that it will help you. There are times where you will need to 'wing' it (ie guess distances because you cannot put marks down or measure for various reasons) and you may find that the tip I mentioned pays off. Good luck!
  13. Hi Stephen Fantastic! Thankyou very much. If you don't mind me asking, where did you find these measurements? Is it an aspect ratio you have used before or just a simple relative mathematical relationship you've worked out. Many thanks again Tammo van Hoorn PS Edit: Sorry I wasn't thinking. Logical: 24mm divide by 1.85= 12.97 24mm divide by 2.0= 12
  14. Hi I'm prepping a job this week where i've been asked by the DP to prepare an unusual aspect ratio. We're shooting super 35 and he wants a 1:2.0 groundglass. The suggestion would be to get a 1:1.85 super 35 groundglass and 'pencil' in the 1:2.0 aspect. Any suggestions as how I could work out the measurements for the pencilled in aspect ratio in relation to the 1:1.85 groundglass? Many thanks Tammo van Hoorn
  15. Great. Thankyou for that Dave. Point taken regarding jib arm. Many thanks again. Tammo
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