Fernando Getz

I recently came across this ad for louis vuitton http://www.youtube.com/watch?v=fG79nd8ej94 and I'm interested in the effect that was used to achieve some of the shots, (i.e.0:51 seconds, or 1:15 ). At first I thought they used shift&tilts, but there's more than focus diffussion there, did they shoot through a concave glass? I noticed the director, Bruno Aveillan is quite keen on this effect. Any ideas on how they achieved it?

hey, everybody. I'm shooting a feature with an arri 416 at 24 fps and I have to shoot a PAL video projection of a wall, do i need a sync box or can i just phase out the bar?

Of course, people will pass by only once and the shadows will be a lot smaller than the letters

I have to do a DVCam shoot in which I have to achieve the following: In the background, about 45ft away from the camera, there needs to be a fabric or canvas with a white circle with the word RAVEON in black letters inside it. The 10 ft diameter circle should be produced by a 2k junior placed 10ft behind the surface with the letters, so as to be able to see in that circle the shadows of people walking behind the fabric. My question is: what color and/or texture should this fabric or canvas be, so that we only see a white circle with the words where the light hits it and the rest is black? I know the right way to do is is to test different materials but, as usual, the budget doesn't allow for it. Any help will be greatly appreciated. Thanks!

Well, I would like to have as shallow depth of field as possible, but as it works out, we are shooting in a studio with off white walls, and they want the catwalk lit and everything else fall off into darkness. So I figured I'd try to put a lot of light into the catwalk and try to flag it off the walls, closing the iris to get darker walls. The "beauty shot" would be at the end of the catwalk closer to camera, which I will light with two 4k HMIs with diffusion. What I'm a little worried about is the back and middle of the catwalk, which *9*-9

Hi, everybody. I need to shoot some models walking down a 30ft catwalk for a beauty video. I'm shooting DVCam and was thinking to backlight the models with a couple of maxibrutes from each side and then use two 4k HMIs, one from 3/4 and the other one closer to the camera with 85 and diffusion as fill. how does that sound? I haven't done that much fashion and beauty, so I could use some pointers. Thanks

Wonderful, thanks a lot guys.

I'm shooting a short film in 35mm with mostly short ends and recans. The director works in advertising and he got access to the fridges of a bunch of production companies. Of course I would rather shoot with fresh cans, but it's not the case. I got cans from 2 months to 5 years old. Does anybody have a ballpark idea of how much the emulsions will change and what am I to expect from different aged film? I'll be shooting mostly 5218 and 5246, and a little 5201 that I was planning to push to get more contrast out of it. I know hter are other variables involved like how good a job the loader did when saving the film, etc, but we'll hope everybody took as much care as I did when I was a loader. How long does the stock hold its original rendition qualities and how does it change with time?

So I just got a job replacing another DP and was thrown into a situation where I can't change much. And because I don't have a lot to work with, I would appreciate some ideas. I'm shooting a Panasonic DVX 200, an exterior with indirect sunlight (but a lot of it) and I have a 4k HMI par, a couple of 3x3 bounce cards, and a 12x12 silk. I'm lighting a guy sitting down and at some point, reaching for somethin on the floor. I'm trying to come up with something to make it look interesting, any master tricks to suggest? Thanks a lot for your help

I have to do this shoot where we want to emulate David Hamilton's photography look. Any ideas as to how he achieved his look? Thanks!

So I finally, ended up using this black light bulbs for Kinos. I'm not exactly sure about the name, but they worked like a charm. They're skinnier than a regular Kino Bulb and they are true UV. The shining teeth effect was perfect. I also tested the rosco congo blue filter but that didn't do the trick. I guess that would fake it if you were to shoot a club scene or something were you're mixing light sources, I was doing product shot so I needed the real thing, I did use some Dedo's with Full CTB + Congo Blue (I know, almost no output) but just enough for some edge lights. Thanks everybody for your suggestions.

I need to shoot a black light scene the same type you see at clubs where white and neon style colors pop out and everything else is dark. I was told that I could use a rosco "congo blue" gel to achieve that effect and even that there are 5500K Kino bulbs that can do it too. Has someone ever done this? My other option is to just get a black lightbulb, but I'd like to have more control over it.

I have a shoot with the Sony HDV. The subject is a white box that moves all over town on a sunny day. I'm really worried that it's going to blow up all over the place and of course I have no time for testing. Does anybody know a good way to stain or darken the box without it being to evident? Thanks