Roberto Ditleff

Hi, there is a new lens system called TS-160 Robusto, From infinity-photo optical, USA, http://www.infinity-usa.com.

I helped the development of the lens and I can assure you, it does exactly what you are looking for, there is an adapter for any kind of lens mount from C to PL and the MTF is impressive.

Roberto laguna

Www.lagunafilms.com.br

Hi, I am planning using or a Goya or a Arri X unit for a broad background night set up ,

Do you have any recomendations ?

Thanks David , yes its really a good advice.

Tks again

Roberto

Hi, we are planning to shoot a feature with XDCAM HD , and for budget reasons all I will have are Magnetic ballast HMIs , since the camera shoot at 23.98 fps ( shutter 1/48) and not 24fps , is very likely that we will have some flicker . Does anybody knows how to deal with that ?

tks

Roberto

I will be shooting some hot summer exterior shots on an open location , but will be trying to avoid the hard sun light on the actors, i am planning to use overhead when possible, could anyone give any advice on using overheads

tks

Roberto

There's an article about the film in the June 2001 issue of "ICG Magazine", haven't read it myself unfortunately but I'm sure that would provide some info. My guess would be that they used Tobacco filters for some of the day exteriors, which would give it the heavy sepia feel in certain scenes, a sort of heavy yellow look. I did a test of different warming filters (Chocolate, Tobacco, Straw, 81EF, etc.) and I feel like "Swordfish" looks more like Tobacco than anything else.

 

As far as taking chances and creating a look in-camera, that's what cinematographers get paid for. It's not magic, you can shoot tests.

Thanks for the filter advise

Does anybody knows what filter they used on the film "Sworfish". I mean it looks like there was a constant 85 filter on the lens , sometimes it looks like an enhancer plus a yellow......

Tks

Roberto Ditleff

Some cinematographers prefer to keep a specific f-stop throughout the film , or sequences , making sure that the contrast, definition ... among the scenes is kept controlled.

Others state that the mood of the scenes dictate the f-stop , those are concerned much more with the depth of field so under a sequence there will be scenes shot under different f-tops.

Since we have several ways to keep the contrast under control, i think the second approach contributes much more to tell the story , I would like to know yours opinion

tks

Roberto Laguna

John

Thanks for the answers.

Are there any differences among the hd camera makes and models concerning the way their eletronic shutters work, I mean is there any hd camera that gives a better motion blur ?

TKS

Two questions :

1 How close come the 24P on a HD camera to the blurr effect of a 24fps on a film camera ? Can anybody elaborate on this , please.

2 Since I will be using the shutter on a hd camera to obtain the 24P look, how could I simulate the look of 24fps and shutter variations like 90º, 45º that we do on a film camera.

Thank you all