Chris Fernando
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Posts posted by Chris Fernando
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Does any one know where I can find a manual online? I tried goolgling without success.
Any help would be appreciated.
Ed
Hey Ed,
Congrats. Try this:
http://cgi.ebay.com/CP-16R-Service-Manual-...1QQcmdZViewItem
Hope that works. If the link doesn't work just try a search with CP 16 + instructions and look around the related searches links. There's a guy/company selling "service manuals" on there constantly. Best of luck.
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How can I get professional footage from a digital camera?
Stay inside and keep lights out of your framing!
Seriusly though, IMHO, its partly reliant on lighting and story; both of which are under a more powerful magnifying glass when you're shooting video. If memory serves me correctly the Pumpkins shot most of their videos on film (I could be wrong). There is one video from their last album that mixes video and film footage and is kind of interesting to watch. The song's name escapes me but it's from Corgan's 'Martix/I think I'll start wearing a dress' days. Best of luck
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I wish i was a southpaw, just so I could call myself a southpaw. Heh that'd be sweet.
If a southpaw is walking east, isn't he a 'northpaw'? :blink:
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yeah, its a great game with a great storyline. thats why many game's these day's are bieng turned into films. they have awesome and epic storylines that just cant be passed up.
Yeah, nothing to do with the creativity well being sapped dry!
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I have heard 800 at airports.
I have been told 800 at every airport I've been through. And even that is probably incorrect. Remember these people aren't photographers, so don't assume anything; watch over all hand inspections and have a changing bag/tent handy just in case.
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...I saw a battered 35mm print of this thing last night. I thought it looked fine. It's remarkable that a 16mm documentary film can look *just good enough* and go on to earn more than 100 million at the box office! I think the initial production costs were just under 150,000. Warner Brothers obviously added to that exponentially for post production and distribution.
ref:
The end result of marketing just another documentary as the next 'Citizen Kane'. :lol:
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serves as an eye-light and fills in the details and hard shadows
Something that "fills" in the details and hard shadows is a ______________ (drum roll)
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What does the shot look like? Is the window just bg, or is it an insert of some type of the window. If just bg, how much DoF are you playing with?
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I might be nitpicking here, but it looks like the beam in the POV doesn't match the previous shot. It looks like he sort of moves his head up and back behind the flashlight, but it still doesn't match coming out of lower screen left, like it does. (my $0.02-what's the pot up to these days?)
The move around the guy on the shore is nice, almost don't notice it- if David didn't mention it.
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Santo,
Nice stuff. Love the texture and grain on the last one and the first two are nice too. How does the 10 bit stuff compare to the projected footage?
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" In a collective art like the cinema there is only one director and the word 'photography' means expression in a single image. We express ourselves through 'cinematography', which means 'Writing with Light in Motion' and requires more than one image to become an art form; in fact, it needs a beginning, development, and an end."
by Vittorio Storaro, quoted from the following article:
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(The Hawks are Dying)
Not just the Hawks! :)
"My camera's rolling, why don't you bang my sticks." (Too far?)They call me 'Tripod'. B)
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You guys watch too many movies. :D
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Actually, yours are better. :)
Just make sure your second choice doesn't hear you!
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Justin,
I really dug the location. Using S8 and the backwoods location give it an interesting 'eyewitness account/cinema verite' feel. Where'd you shoot this?
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Cinematographer César Charlone, as he did for City of God, shot most of the dialogue in Super 16mm and the wide shots in 3-perf Super 35, using Kodak 5245, 5246 and 5218 in 35mm and 7245, 7246 and 7218 in 16mm.
Igancio,
Just curious if he offered any insight as to the motivation for his decision to use S16 for dialogue shots. Cheers.
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For me, 500 ASA stocks are still borderline too grainy, by the way, which is why I overexpose them.
David,
Just curious if you do this across the board or do you let story/lighting set-up/time of day etc., etc., influence your decision and how much do you overexpose, when you do?
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Oh and you ONLY want your reel shot in film in 2.40 with anamorphic primos on a Panavision XL2 on a 50ft technocrane - cause it doesn't get any better | more expensive than that :)
Oh and Dave Hussey to do your TK (telecine transfer) and may as well get Hans Zimmer onto your music
:D
:blink: You're scaring me now!
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Thank you very much for all of your advice.
The only camera I have is a Samsung camcorder. Not the greatest. Ugh.
I made a short for English the other week on the novel The Anthem. It wasn't anything spectacular but it was the first time I really used the camera and had a vision of what I wanted to shoot with it.
I have a big issue on editting. I have no idea where to being because I don't know how to begin. Since all I have is this camcorder IDK what to do..
Uh..any advice?
Hey Brandon,
It's awesome that you know exactly what to do at 15! I wish I had that kind of focus at 15, instead of telling everyone "I want to be a director".
I'll offer a short analogy, if I may: While in high school I had a friend who didn't want to do anything but play basketball, and, as a result, you never saw him anywhere without that damn basketball. He went on to a fairly successful college playing career at the Naval Academy and played in the tournament his senior year (I believe they made it to the Sweet 16 and faced Antawn Jamison and North Carolina, if you're familiar with basketball)
My point being try to take that camera with you as many places as you can, shoot as much as you can and tell as many stories as you possibly can. I can't tell you what I'd give to be 15 again with a camera in my hand, make it count and have fun. Don't worry about what format it is, or what it looks like. I think it was Francois Truffaut who said "The smaller the camera, the better the story."
Best of luck.
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RGB never needed Kodak at all.
Wouldn't it stand to reason, though, that if RGB was marketing themselves as a place where you could "test" motion picture film stocks, that they would need Kodak much more so than Fuji, based on industry tendencies/practices?
Which brings me to my next question, as was stated by someone earlier in this thread; how many DP's were actually using RGB stocks and still cameras to test motion picture stocks?
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Sometimes I think the technical aspects of moviemaking are overrated -- I almost agree with Kubrick who felt that the technical side of filmmaking could be learned in a week (but perfected over a lifetime, of course.) No matter what the details are, we're talking about an image-capturing box with a lens stuck on it afterall.
I'm beginning to think there will never be another Kubrick.
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I don't understand the purpose of your post.
RGB needed Kodak; Kodak, apparently, never needed RGB. Smile, it's just business :) .
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Anybody out there have any idea where I can find a matte box, rails and a follow focus set-up for a CP-16R? I've seen them around (eBay auctions for the whole camera package, photos at Whitehouse, etc.) but nobody has been able to give me a definite answer as to who builds them and where I might find one. Any help would be much appreciated. Thanks.
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You've got to stop seeing Kodak's motion picture business model being based on Super-8 users and other no-budget, low-paying customers working on the fringes of the industry, using tiny mom & pop labs. It's mainly propped up by the studios ordering millions of feet of print stock for worldwide theatrical distribution. If THAT source of income died, then you'd really have to worry about Kodak's long-term existence. Everything else is a sideshow really, K40 versus E64T, etc. Has no ultimate long-term effect on the viability of film for making movies. You have to look at what really generates the big money for Kodak.
FYI:
Sent: 10/21/2005 8:25:00 AM
Subject: Re: Film is NOT Dead!!
Kodak
ROCHESTER, N.Y. - For the first time, Eastman Kodak Co. is generating more sales from digital imaging than from film-based photography, yet its massive makeover brought more pain in the third quarter - a $1.03 billion loss largely attributable to one-time tax charges.
Even excluding restructuring and other charges, analysts said Kodak's results missed Wall Street forecasts.
Kodak lost the equivalent of $3.58 a share in the July-September quarter, compared with a profit of $458 million, or $1.60 a share, a year earlier. Its loss from continuing operations, excluding one-time charges, was $103 million.
Sales rose 5 percent, to $3.55 billion, up from $3.37 billion in last year's third quarter.
Although stung once more by the rapid slide in film sales, Kodak found solace in its steady drive into the digital era. Its overall digital sales in the quarter surged 47 percent, to $1.89 billion, while revenue from film, paper and other traditional, chemical-based businesses slumped 20 percent, to $1.66 billion.
Breathing with 25-250 HR Angenieux T3.5 Zoom
in 35mm
Posted
Good AM all (or PM for the Euros),
Two part question: just finished a 1st gig on a 35 shoot using the Angenieux 25-250 HR T3.5 and there seemed to be an awful lot of breathing when pulling focus on this thing, even on the smallest pulls at any focal length. <_< . Is this typical of this lens or is this par for the course with big zooms such as this?
Part 2: what can be done, if anything to reduce breathing when pulling, or is that something production/DP should know about when ordering their lenses (Do they have to live with all the breathing if a scene requires pulling?)? Thanks.