Nateweaver

T

themaestro

Member
The beautiful stuffs Mister Nateweaver are producing is with rented cine lenses with P+S Micro 35, yes? Or is Misters Nateweaver using other lens, like SLR lens with P+S Micro. Nateweaver makes very good cinema images... how is the question? I want to get as good images but I have not a million dollars for cinema prime lens. Can someone give to me advice about what I need do? Maybe mister Nateweaver himself? I have no money for big cine lens rental, but I need to achieve cinematic depth of field. People very graciously give me advice but I think there is perhaps something question I'm neglect to ask... The Static-X video looks very much like a movie video. Did he rent those lenses? It is impossible to own these lenses yes? I shoot with people who sometimes is not always available/quiting so for me to rent, is big risk... Sometimes people break contracts and I lose days and I can't afford to spend big money on expensive rentals? What must one do!!!
 
Pssst. It doesn't look like it does because I rented Mini35.

The video would look 90% the same if I had used the stock lens.
 
Alright, now that i have more time I'm going to give a little bit more detailed of an answer. Both the Mini35 and the primes used with it on my shoot were rented. The primes were a well used set of Zeiss Super Speeds, renting for about $250/day. Their current value, for the set of 5 would be about $15k used, give or take. So that's about $25k for the whole deal, sans camera.

Honestly Maestro, and please don't take this badly, if you're asking the questions you're asking above, you shouldn't be blowing any sort of money on a Mini35 rig even with Nikon primes. Shooting moving images while trying to follow focus on lenses designed for still photography will be one of the most frustrating things you could undertake with a camera. Try it with a 100mil at T1.4 and you'll gnaw your own fingers off in anger before the end of the shoot.

I could have created 90% of the look of the Static-X video without the Mini35 rig....I've been doing it for years on a DVX. Save your money, go shoot with the things you have. Learn about color correction. Learn about basic photography principles (aperture, shutter speed, ASA). If you stay on the path, you'll eventually know when things like DoF are holding your craft back.

themaestro said:
Nateweaver makes very good cinema images... how is the question?
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Composition. Lighting. Color correction. Art dept...and last, but not certainly least, having something cinematic in front of the lens. There is no magic bullet. The only prerequisite for cinematic images, I feel, is shooting at 24fps.

Best of luck,
NW
 
Took a look at that Static clip. Impressive stuff with a DVX. On top of great lighting, the dolly work and creative angles really pull together to a highly polished looked.

Nice work Nate (great advice too :) )
 
nateweaver said:
The only prerequisite for cinematic images, I feel, is shooting at 24fps.
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And how about 25fps? As for being new to this, and in PAL-land, I figured out that 24fps is difficult to use for PAL. Not sure why (out of sync, not compatible with 50herz?). But since I don't have any future plans for a film out, the important question for me is: is there a huge difference in watching 24p or 25p footage? Can a filmlook be achieved with 25p and 1/50 shutter?
 
Eurotrash said:
And how about 25fps? As for being new to this, and in PAL-land, I figured out that 24fps is difficult to use for PAL. Not sure why (out of sync, not compatible with 50herz?).
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To keep "real time" the pulldown pattern is something like adding 1 extra field every 12 frames, so not a very smooth transfer. I think most film transfers are just sped up 4% to 25fps.

Eurotrash said:
But since I don't have any future plans for a film out, the important question for me is: is there a huge difference in watching 24p or 25p footage? Can a filmlook be achieved with 25p and 1/50 shutter?
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Not a huge difference. Yes a filmlook can easily be achieved with 25P. This is your best bet in PAL. Before the HD100 came out, I'd been shooting 25P PAL (on XL2) to get better colour/higher resolution, and then converting to NTSC for my North American clients. An example here of PAL 25P: http://homepage.mac.com/timdashwood/mitsuko/iMovieTheater98.html
 
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