Daniel Rheaume

Hello, I've read about transfering film to digital, but only in broad and vague descriptions. I know some people do it by projecting onto a screen while filming with a digital camera. This sounds amatuer to me. In my personal case, I wouldn't be working with 35mm, rather I want to know how to transfer 8mm and super 8 formats. Basicall formats that have been available for home videos. If possible. I would like to know the method hollywood uses - right down to what machines are popular. I would also be appreciative to learn alternative methods that produce professional results, but that are less expensive to get started in (assuming hollywood's way is VERY expensive.) Any and all help is greatly appreciated, especially hollywood war veterans ;) Thanks in advance! -Daniel Rheaume

Hey, Thank you to both people that replied. Your answers made a lot of sense, and cleared up the confusion that I had regarding that. Thanks again! -Daniel

Hello, Please go easy on me with this one because I know this has probably been addressed before...how about one more time for a newb's sake? Here's my question: I hear people make reference to 24 "frames per second", and I see all over the place 24"p". What is the difference (if any) between 24fps and 24p? Same with 30fps and 30p? I've searched the internet but all I find are debates on the different modes. Thanks for any help!

Stuart, I don't attest to know anything about the lighting of "apocalpse now". I don't attest to know how to light any type of film. I never said that people had to know about CG to get a good lighting effect. All that I'm trying to say is, it feels like this board is becoming more and more a place where failed and accomplished cinematographers beat up on aspiring cinematographers because of their own insecurities and or inability to pull off a miracle. That is my opinion. I believe the most important thing is to keep people encouraged and inspired. THAT is how you get lighting effects like Apocalypse Now. I'm beginning to think that if Storaro were a beginning cinematographer, and he asked a question on this board, he'd be eaten alive...and maybe never achieve what he did. Alright, now to the meat. I do not think you can just whip out some magical mathematical formula to get a good lighting effect. I made it very clear that it requires good judgement and experience. However, do you really think that light just "appears" and that it just happens to reflect in certain ways...but is never predictable? My point about CG is that the fundemental properties of light can be modeled on a computer because of the fact that we know the formulas to recreate them. Every single painting or film follows a set of natural laws. The lighting formulas will change, but they are there. So, to paraphrase, No I don't think some formula will make you a Storaro, But I believe 100% that you can learn general principals and physical laws that will guide you in the right direction. Do you think that the worlds best cinematographers can get great shots just because they are experienced? I'll bet you can find someone with years of experience who still can't get good shots. Whether they have learned the laws of light from a book, or from their own experimentation, a skilled cinematographer know the laws. Not to say you can't break general rules... My whole point in all of this is to say that there is hope for someone trying to do something for himself. It may not turn out great the first time, but I guarantee you that neither did Storaro's stuff. You are not required to read or respond to any of these posts. This is a NEWBE forum. This place is for encouragement and real help. This place is not for discouragement. -Daniel Hey Sean, I agree with you 100%! You've pretty much summed up what I've been feeling too. It's a shame I didn't put it quite as well as you in the infancy of this topic. Anyways, Thanks for your post! -Daniel

I have no real idea how to do this...but I'd like to know myself! This has always interested me. The one thing I think I will say though is this: I don't think it would be quite as difficult a challenge to have the brush as it seems. Rather than an outdoor setting, you could built a set. Have a small outdoor type thing you can light however you want. Self contained like a sandbox. :) Would that work better than on location shoot? -Daniel

Hello, I am planning on shooting a music video for a local band that I have met. While reading some informational material regarding low-budget music videos, I came across a question that I couldn't find an answer to: What are the reasons for using makeup, or not using makeup on the band members? Will I be sorry if I don't use makeup? I understand that most major music videos have makeup artists (even for the ugly punk bands...hehe) Am I missing a reason other than to hide blemishes? Thank you, -Daniel

Hi Evan, Just curious... It seems like your co-op might have a non-linear editing suite of some sort. Is there a particular reason why you wouldn't use a slow motion effect from a plug in, or built into the NLE software? Windows Movie Maker is pretty basic. But something like Premier or Vegas should be able to make a really nice slow motion effect...especially using some kind of 3rd part plug-in. I'm interested to see what everyone else has to say. Thanks! -Daniel

BP, I'll have to agree with the others that it's true that this is a craft that people work at their whole lives...just like the musicians in the video you are shooting. However, I am the type of person who likes to do EVERYTHING myself. I don't like to give someone else control (for better or for worse), and I'm interested in learning about what ever it is that I want done. I am actually a musician foremost, and a wannabe film maker second. I say, more power to you for trying to learn and do it yourself. It may turn out well, it may turn out just ok. My brother and I are in a band together and he is also into film making. He, unlike me, has had a natural skill ever since he picked up the camera. It's amazing what he can do. Any ways, the reason I even replied to this is that I have to disagree with the last persons post. I think they were a little off base by saying that the books and teachers can tell you where to put the lights, but not why. Experience is crucial for making quick decisions that will turn out ok. However, it's not just experience that makes for good lighting. You could have years of experience and never get a good shot because you might be missing fundemental principals. It's all very scientific. If you begin working with CG animation you realize lighting is just algorithms essentially. Like reverb. reverb is a natural occurance, but can be modeled because we know it's formula. So, just like reverb lighting has specific properties that don't change. That's why judment is essential, but I believe a book CAN teach you why to put your lights where you do. Like in audio recording. It's like learning why you place the microphone somewhere. Anyways, hope this helped renew any hope of doing something of decent quality. You've found a good board should you decide to pursue things further. The people on this board are incredible and I've learned a lot by reading all different posts. -Daniel

Hello, Recently I made a 5 minute mockumentary and burned it to a dvd. The color on the computer monitor looked pretty decent. However, when I played it back on average television sets, the footage was washed out and completely inaccurate. My question is...How do the professionals make sure that their color correction looks good across a wide range of television sets? Do they have special monitors, just like mixing engineers use special speakers to mix audio? Also, my graphics card has a connection for a tv. Should I hook one up while editing my video for better reference? Thank you, -Daniel Rheaume

Hi everyone, I want to say that I found all the newest comments really insightful. That makes sense about the slight zoom in. I've noticed something happening before when I zoomed in and back out. Now I understand better what it is I saw. I also really like the idea of trying to favorite shots from other movies. I'm going to give that one a try soon. Thanks all! -Daniel

(That last post was under my brothers name, who forgot to sign out last night.) Thank you to everyone who replied to this question of mine. I feel confident that I have enough information now to understand what is required for a good, professional shot with a digital camera. That thing about the size of the color chips was incredible! I never would have imagined. I feel that this is truely a board where I will be able to find any answer, (and hopefully in time) answer someone elses questions. Thanks again, -Daniel Rheaume

Hello, First I want to say that this is an amazing board. Alright, to the question. I'm sure this has been asked before, but I've searched a bit and I just need some clear answers. How can I get professional footage from a digital camera? I'm aware of the 1 vs. 3 chip thing. Basically, my question is: When I use my Sony DV handycam (consumer model) I obviously get sub-par picture. It gives me a look that is a little too...close up?? It's hard to explain. Pretty much it's just the opposite of footage like "The Lord of the Rings". I have been able to get hold of a 3 chip digital camera from a local television place. It is a pretty high end digital camera. Yet, although the color is improved...I'm still not getting that "big" feel that I want. I've been told this could be the type of lens? I've also been told it has to do with frame rate (24 vs 30). The other thing I've been told is lighting (but to me this seems that would have a bit more to do with clarity and sharpness...maybe I'm wrong?). Some might argue that only film cameras will do it...but I have a hard time believing this due to the fact that a lot of MTV shows and home decorating shows are obviously shot with digital cameras. Basically, I want to get footage that is on par with lets say MTV Cribs, Trading Spaces, Degrassi (these are just some examples). My goal is to make a movie like the Smashing Pumpkins music videos. Hoepfully you get the idea. I just need to cross that line of semi-professional to professional. I would be very grateful if anyone could spell out all the neccessary elements to achieving this level of quality. Also, I know investment is neccessary, so any camera suggestions are very welcome. Thank you, -Daniel Rheaume