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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

KETCH ROSSi

Thank you Ketch!
But choose is choose!) And if it is possible Could you tell me please
What personally you would prefer for example for short movie Canon L or Zeiss ZE or there is no difference?
 
K. cromwell said:
Ketch I believe you hit the nail on the head when you said:
nly the best tools will allow for the very best results, if you are good you can get great results no mater what, but if you are good, and also happen to have the best tools money can buy, well, then you'll get even better and greater results... ;)

I tell people all the time it's the person not the tools, but the tools do play a ROLE thanks for this statement.


[/FONT]
I tell people all the time it's the person not the tools, but the tools do play a ROLE thanks for this statement.
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I truly believe that the Tool is half the Job, given of course that you do know how to use it... ;)


Alexey Datsenko said:
Thank you Ketch!
But choose is choose!) And if it is possible Could you tell me please
What personally you would prefer for example for short movie Canon L or Zeiss ZE or there is no difference?
Click to expand...


In this case the choice is easy, Canon "L" series, as the Zeiss are not even close to be as good, they really don't compare to neither Canon "L" series, not sure what is happening at Zeiss as of late, but the Still glass as well as their new Compact Primes, even the II don't make what used to be the name of Zeiss any justice.
 
Thanks Ketch!

Could you please give me advice if is possible to compare.
If compare Leica R with Canon L (for cinema shooting)?
For example Leica 50mm Summilux f1.4 or 80 mm 1,4 or compare with Canon L 50 mm 1,2 or 85 1,2?
(or maybe Leica M Leica Summicron-M 50mm f/2)
 
Alexey Datsenko said:
Thanks Ketch!

Could you please give me advice if is possible to compare.
If compare Leica R with Canon L (for cinema shooting)?
For example Leica 50mm Summilux f1.4 or 80 mm 1,4 or compare with Canon L 50 mm 1,2 or 85 1,2?
(or maybe Leica M Leica Summicron-M 50mm f/2)
Click to expand...

Leica is superior glass, even the R which is actually their last in the list, the new Cine Primes being #1, Leica S series for MF #2, Leica M series #3, and Leica R series #4, but still better then Canon in their Primes, not the Zooms, Canon 24-70 and 70-200, latest edition IS 2.8 smokes all.

Depending on budjet go Canon, if you want great Autofocus again go Canon, otherwise go Leica R, however, for now the best Red mount is the Canon, followed by the Nikon and the Leica M.

The Canon 50mm is not one of their best lenses, and it does not performs as good as it should, in this the Leica R is much better, were the Leica M kills them all.


Bob Gundu said:
Hi guys. I just want to be part of the longest running thread in history! I did it! Ha ha.
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Ha ha, I don't think that this is the longest running thread in here Bob... ;)
 
Ketch, I hate to bother you with equipment details, but what brand and models do you use for continuous lighting? Thanks.
 
Andy Roberts said:
Ketch, I hate to bother you with equipment details, but what brand and models do you use for continuous lighting? Thanks.
Click to expand...


No bother at all Andy, its my pleasure to answer any questions when time allows, when time does not allows, then I try to make behind the scene videos for it ... ;)


First I should say that I DON'T USE TUNGSTEN lighting.

I ONLY USE DAYLIGHT 5600K Lighting, no matter were or what I'm shooting.


I use BRIESE, ARRI, LIGHT PANELS, LED-Z, and also testing some LED's form COOL LIGHTS.

Important that no matter the brand used, both HMI's, and LED's need to be perfectly calibrated to be 5600k, not 5000k or 6000k, or some were close to it, BUT 5600k!!

My favorite of course are the BRIESE Cinema series, this are HMI's, but also can mount Very powerful flash if the use of Strobes calls for it.

During the filming of "RoaB" we'll be doing one Video Blog per week, and ton of behind the scene photos, which will show what I use and how I use it.


This series will be the most comprehensive series of Behind the Scenes Blogs ever done in History while making a movie, in short, NO ONE to date has done a "MAKING OF" as we'll do.


Why?

They are either afraid to share too much or to get criticized of how they do it, or don't want to share the secrets of how they done it.


Me... It is exactly what I want to do, SHARE!!
 
KETCH ROSSi said:
No bother at all Andy, its my pleasure to answer any questions when time allows, when time does not allows, then I try to make behind the scene videos for it ... ;)


First I should say that I DON'T USE TUNGSTEN lighting.

I ONLY USE DAYLIGHT 5600K Lighting, no matter were or what I'm shooting.


I use BRIESE, ARRI, LIGHT PANELS, LED-Z, and also testing some LED's form FILLM TOOLS.

Important that no matter the brand used, both HMI's, and LED's need to be perfectly calibrated to be 5600k, not 5000k or 6000k, or some were close to it, BUT 5600k!!

My favorite of course are the BRIESE Cinema series, this are HMI's, but also can mount Very powerful flash if the use of Strobes calls for it.

During the filming of "RoaB" we'll be doing one Video Blog per week, and ton of behind the scene photos, which will show what I use and how I use it.


This series will be the most comprehensive series of Behind the Scenes Blogs ever done in History while making a movie, in short, NO ONE to date has done a "MAKING OF" as we'll do.


Why?

They are either afraid to share too much or to get criticized of how they do it, or don't want to share the secrets of how they done it.


Me... It is exactly what I want to do, SHARE!!
Click to expand...

Certainly cannot wait for those behind the scenes! That will be very intriguing indeed!
 
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AJ Aguirre said:
Certainly cannot wait for those behind the scenes! That will be very intriguing indeed!
Click to expand...


You hav no idea how much fun this BTS stuff from my SETS is going to be, even so the Studios are not open, even this low budget firs motion picture will provide with literally tone of insights and tricks, and ways of making any production a great one, and since I'm my own boss, I'll take my time any way and any were I can to explain while working, so that this videos will really serve for more then just entertain, and will give a hint to what the "FREE" Film and Photography School will offer, in our "School of Dreams".


Sign up to this thread, I'll post all of the links here, to be sure they don't get lost in the middle of this ever growing Forum... ;)
 
KETCH ROSSi said:
First I should say that I DON'T USE TUNGSTEN lighting.

I ONLY USE DAYLIGHT 5600K Lighting, no matter were or what I'm shooting.
Click to expand...

Thank you Ketch!
Hm..but you are using DAYLIGHT 5600K even for indoors shootings?
It is going to counter to calssic theory that for indoors need to use TUNGSTEN lighting 3200K and if use 5600K indoors will be mix of 3200K+5600K and green tinge as a result or something like that.
For example if you shoot in the room you will get for example 4 Kinoflo, 1 for key, 2 for fill, 3 for back light, 4 for background light?
 
Most welcome Andy... ;)


Alexey Datsenko said:
Thank you Ketch!
Hm..but you are using DAYLIGHT 5600K even for indoors shootings?
It is going to counter to calssic theory that for indoors need to use TUNGSTEN lighting 3200K and if use 5600K indoors will be mix of 3200K+5600K and green tinge as a result or something like that.
For example if you shoot in the room you will get for example 4 Kinoflo, 1 for key, 2 for fill, 3 for back light, 4 for background light?
Click to expand...


Most welcome Alexey, and yes, you are correct, I use 5600k Daylight no matter, to me any other Kelvin temperature lighting DOES NOT EXIST.

I don't mix lights, I simply never use anything other then 5600k Daylight fixtures, no matter the time of day or night, indoor or outdoor.

If there are existing fixtures with other then daylight, I'll have them replaced with Daylight bulbs were possible, if not I simply over power them, and don't worry too much about it at all.

He he, that is the thing, I could care less of Classic Theories, I make my own rules, especially when it comes to lighting, I'm my own DoP, and for this in this first Film, I will not hire a DoP but a skilled Head Gaffer and crew.


For me lighting a scenes is so much dependent on what is important, and the same 4 Light fixtures can dramatically change their position, and never forget to always add some reflection cards, for under the face, to light up nicely the neck line and under the eyes, the girls will love you for it, so will the guys in Post, unless you are filming an Horror scene... ;)
 
Alexey,
If Ketch doesn't mind me adding a thought here. Digital capture devices (like the Epic or a Nikon DSLR) have a NATIVE Color Temperature of 5600K. So shooting with any other color temperature will add gain (noise) to the image (maybe only slightly in many cases). But Daylight sources produce the best images. My struggle is to find good daylight lighting for 300FPS situations. Many HMIs will have "arc wander". Tungsten Fresnels around 5,000W or greater is the best for high-speed shooting as far as I know. I'd love to have a 5600K solution that works for high-speed.
 
He he, of course I don't mind, in fact that is one of the reasons I only use Daylight pure 5600k, but not the only one, I simply like much better the way it renders Skin tones, always my main subject, both in Stills and Motion work, and now with Epic they have both become one and the same... ;)


For higher frame rates is imperative to use modern Ballast systems, and the new Briese HMI's are simply phenomenal!!


But I'll be also testing the B2PRO HMI's soon, we'll see.

I do however need to say that I prefer to shot full res, meaning Maximum resolution allowed at that given speed, and then slowed down in post, instead to go down drastically in resolution to achieve the same results, post is getting so good at it, that I really need to do some serious tests on Epic to see which one gives better results, 300fps at 2k or 96fps @5k then slowed to 300fps in Post, of course if I need 4k, upscaling the 2k footage is already almost out of the question for me, but still I need to try it.
 
Will KETCH ROSSi Studios finally open its gates? I remember you saying that you wanted to build one of the most advanced studio ever created. Looking forward to your announcement. For a young, aspiring filmmaker like me, your work is truly inspiring. Thanks ;)
 
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Paul Ellington said:
Hope it's good! Would love some good news right now.
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It will be Paul, and not only for me, but for us all... In fact will be the best news I also had in a very long time, but the one to come in relation to this one after it, will be the one I'll be truly waiting for, when I post about this one you'll understand why the next is even more important... ;)



Toby Linden said:
Will KETCH ROSSi Studios finally open its gates? I remember you saying that you wanted to build one of the most advanced studio ever created. Looking forward to your announcement. For a young, aspiring filmmaker like me, your work is truly inspiring. Thanks ;)
Click to expand...

Thanks for the kind words Toby, it is not about the opening of the new Studios, we are still a bit away form that day, but this is an ENORMOUS announcement, and the effect it will have will be simply Monumental, as it will be itself.


Btw, the few more days are needed to make sure al copyrights are in place, and that we have legal permissions, and then we we'll be a go!! Can't wait... ;)
 
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