Oliver Ojeil

I was looking around here and couldn't find any posts about this movie. I think cinematography really did the story justice and projected on screen that special warm romantic Italian mood. Color separation, composition, skintones and the overall naturalistic approach for lighting added that real special touch to the film. What did you guys think of it?

Guys, there is a film made sometime in the 60s or 70s about a forbidden love between a man and a woman. Their love was cursed so that during the day the woman turned into a bird and during the night the man turned into a fox or something. The only time they could meet, and for a fraction of a second, was during dawn and dusk. Am looking for the name of that movie. Rings a bell for anyone?

Or more so to show that we grew into a fat consuming culture that has a lot more than what it actually needs to survive.

Hey Stephen, We stayed as far from tungsten lighting as possible, especially that this was our first job with the camera. Will post some screengrabs as we get to the grading process. Regards

Hey Stephen, Now that we're in the post process and am scrubbing through the rushes as I type, I second your comment, and am even more disappointed by RED in low light situations.

Hey, I have a pop promo coming up, there will be a lot of rotoscoping and many elements added in post to the live footage. The plan is to shoot on RED @ 4K with zeiss ultraprimes, and an Angenieux HR, I need to shoot parts of the promo at high speed, My DP is telling me against shooting the highspeeds @ 2k on the RED, according to him the image quality at 2k is lower than 4k downconverted to 2k, and we will need to rent another set of 16mm primes, as the ultraprimes have lower resolution on the 2k sensor size. Has anyone compared the following situations? red 4k, Zeiss 50mm HS prime (35mm film lens) red 2k, Zeiss 25mm HS prime (16mm film lens) This will keep the same field of view and to a point the same depth of field.

Okay, as promised, here are couple screen-grabs posted from the locked film. and and I am eager to hear your opinions. Cheers

We are shooting S16mm. We ended up using a brushed silk filter in order to achieve those flares. What came out more interesting is that most highlights had this flare in them, it was a matter of tweaking on set afterwords. I'll post some stills as soon as I finish telecine. Regards

Hey John, I think there is something a little bit more to it than just a light shooting straight to the lens. Usually the flares aren't as dramatic and visual.

I'd like to know how was the flare effect achieved in Usher's video. It seemed that every time a moving head hit the lens, a nice horizontal flare beamed through. Is it post or an on set effect? Thanks!

Don't tell me critics affect your choice of movies and whether you go see one or not ? :o

I was stunned by the Fracture's cinematography. I loved that strong contrast look along with imagery bathed in vivid colors and remarkable highlights. Some shots if taken apart as a still can be treated as a painting I think. Beautiful depth and illuminations, and lot of moving 20th century style paintings I guess. Bottom line, I really Love it! Awesome Job by Mr. Morgenthau!

I am currently working on opening a 2K Telecine facility here in Beirut by early 08; the facility's main focus will be music videos and commercials. I am looking for an experienced and talented full time Telecine operator. Please reply with a showreel. Kind Regards Oliver Ojeil

I thought the movie is very well put together and everything was tight from start to finish. The handheld camera work gave the plot a dry portrait I think. I would have liked to see some less shaky shots especially for those emotional ones. It's interesting to watch closely Greengrass' approach to the "master" shot and blocking, I think in some shots it was sort of innovative. In general, the shakiness didn't really bother me in this movie, I just hope not everybody will imitate it just to look cool. Oh, and I also liked a lot the color gradient effect on some close-ups; I love this kind of lighting for slick high-tech/action movies

I have footage shot on the varicam and captured into FCP under the DVCPRO HD 720p 60 codec, meaning the footage's frame size in FCP is 960x720 with a 1.33 pixel aspect ratio correction to give the correct look for the picture. After finishing my edit, I need to put it on digibeta for broadcast. What is the best way to down convert? What should be my sequence settings. 720x576, 768x576 etc. ? this is making me pull my hair. thanks for the help

Hey Evangelos, Yes, I ended up shooting 720p 60 and capturing my normal and high speed (36,50,60) via the Kona3 card and FCP. I tried to capture 8bit uncompressed, but I couldn't because I don't have scsi so I captured using the DVCPRO HD 720p 60 setting. The high speed worked pretty good. It's weird though, FCP captures the footage under 960x720 not 1280x720, then in my sequence I have to enable the 16:9 option, or HD 960x720 aspect ratio in order to get the correct stretch. I didn't try downconverting to go to Digibeta, but is there anything I should be aware of, or should do to preserve my correct stretch and display? Thanks !

Stuart, the problem is that Avid doesn't work with the 25p frame rate under HD (720p 25). Am not sure if final cut does because I rarely use the software, but I heard it does. I am sure though that my Kona3 HD card does support specifically the "720p 25 8bit Varicam DVCPRO HD" so I dont see why Final cut wouldn't support it. Bare with me guys for this is my first acquaintance with this camera! Bruce, my page is http://www.pbase.com/hip Please critique my work. My equipment consists of an Olympus 8mp cam with 2 kit lenses. I don't have time to invest in better lenses, but I plan on focusing more on photography as a hobby this summer.

I think the latest version of Avid XPRESS PRO HD has an option in the capture mode that says "preserve varicam frames" am assuming it does the same job of a frame rate converter. I was speaking to the DP yesterday, I think we'll end up shooting 720p 23.976. Would my highspeed footage be double this frame rate?

Ok, so this narrows down my choices to the better. Which 720p format should I shoot under the MV ? 720p 25 or 24? Is my footage 8 or 10 bit then ? thanks

Stephen, long time! Weird, I thought 60 in the Varicam would be high-speed. What do you suggest shooting the MV on frame rate wise, also 1080p or 720p? I just don't wanna fall into problems in post and end up down-converting to Digibeta and capturing via SDI. I was reading over at the Avid forum that 720p25 is not here yet, only 720p 50. I don't know about FCP. I checked today the supported formats of the Kona 3 card I have on FCP 5.0.4 and saw that DVCPRO HD 720p 25 8bit is supported. Are we shooting 8 bit on set since we're pumping into tape? Man I hate FCP if that will be my only choice. Am glad you like my photography. Due to work expansion, I have been negligent as far as updating my website, but I have about 3 galleries coming up soon; i'll let you know once they're up. Thanks

Hey Dan, Yea but I don't wanna shoot at those "weird" resolutions and be stuck with a risky first time down-coversion later on. So I'd rather shoot either 24fps or 25fps progressive. The Varicam shoots progressive 50fps and 60fps as far as high speed. It doesn't shoot any higher. If your project is 25fps then your high speed is 50fps, if 30fps then your high speed is 60fps.

Hey guys, I am shooting a music video in the PAL world on the Varicam next week. We (the DP and myself) are still not sure whether to shoot 720p25 or another format. I heared Avid XRESS PRO HD doesn't support this format. We will be shooting some high speed footage as well. I will be capturing DVCPRO HD from tape onto my hard drive via the 1400 deck. I do have XPRESS PRO HD and FCP 5 with the AJA Kona 3 card. The final output will be on a DigiBeta master for broadcast.

Hey Seth, You don't need a disk array setup in order to capture DVCPRO HD footage 1:1 because it has a data rate of 100Mbps when a sustained transfer rate of a 7200rpm external IDE can reach 400mbps via firewire 400 and 800mbps with the new Fire wire800 hard disks out. It is actually pretty cheap as a post production work flow. Like everyone said, down-converting to DigiBeta is the biggest waste of time and especially money. Good luck!

I will be shooting on DVCPRO HD and P2 cards, not DVCPRO 50 or lower. So is it too much of a difference? I mean is the difference in quality as big as the difference in price? Because if it is not, then I would go for the HVX

We have 5 TVCs which will be all shot on green/blue screen. It is basically a presenter speaking with a background to be added later in post. The agency proposed to shoot on DigiBeta but they are nagging too much on the budget. Would shooting on the HVX 200 deliver the same keying capabilities in post, especially that they both share the same sampling ratio of 4:2:2? Thanks for the advice guys