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Barry Cheong

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Everything posted by Barry Cheong

  1. Has anyone had any experience using this DIY corners kit from Avenger? http://www.bogenimaging.us/product/templat...amp;itemid=1503 I'm looking for a 12x12 frame solution that can be as portable as can be.
  2. I was wondering how you would describe your exposure relations when using a spot meter? For instance I shot a film with a character in a white void. It was shot in studio against a white cyc. I lit and exposed the main subject at T 2.8 and I was spot metering the white cyc at T 16. If I were to describe this to someone would I say that the cyc was 5 stops over or would I have to take into account that the cyc was white, so maybe closer to 3 stops since the spot meter is averaging for 18% grey?
  3. I've been putting grid cloth onto 3x3 aluminum gel frames and taping them on with double sided tape on the surface of the frame all away around and then putting cloth tape around the edges. I'm hoping to keep the grid cloth permanently mounted. After a few days though the grid cloth gets all loose and puckers, like it's being stretched, and I have to go and pull it off and re-mount it. Any suggestions on how to keep it nice and tight on the frame?
  4. In my own kit + additionals i normally try to carry (pending budget) the following: LIGHTING/ELECTRIC (1) 575 HMI Par (1) Redhead c/w small Chimera (2) 1K Open-face (3) 650 Fresnel (2) 300 Fresnel (1) 150 Fresnel (1) 4' 4bank Kino-Flo c/w both tube types (1) 2' 2bank Kino-Flo c/w both tube types (2) 1K Dimmers (1) Practical bulbs, sockets, china balls - 500ft total AC cable - Adapters, cube-taps, etc GRIP (8) 40" C-stands c/w arm and head (1) 20" C-stand c/w arm and head (1) 2K combo (4) Kit-stands (1) 6x6 Butterfly kit complete (4) Cardellini (4) Maffer's c/w pins (3) 18x24 flag/net kit (3 flags, 2 singles and doubles each, 1 wood cookie, 1 cello cookie, 1 empty) (2) 4x4 Floppies (2) 3x3 Gel frames (light grid, fulll grid cloth) (16) 25lb sandbags (4) Each Full/Half/Quarter/Pancake apple boxes (1) Box of wedges (1) Dolly/hand cart (1) Sound blanket (1) 8ft step ladder Variety of pony clamps, furniture clamps, reg c-clamps, safety cables Misc 1" conduit pipe various lengths Expendables - gel, foamcore, sash, duvetyne, dulling spray, etc, etc) I'm mainly shooting small budget student/independent films in residential houses, etc, etc...
  5. Matthew's make a variety of metal high temperature products as you've described: http://www.msegrip.com/mse.php?show=search...igh+temperature I've never used them before myself. They're about 2x the cost for the metal version.
  6. I also prefer the smaller Kino units. The 2 footer units are some of my favourite. Lots of times I've stripped them out of the shell and taped just the tube to a wall or something to get a bit of fill light in hard to reach places. That said they work well complementing traditional fresnel lights.
  7. There's also the "gaffer" confusion on student films. I'll often be on a set where there are 2 or 3 "gaffers" instead of a gaffer and subsequent electrics.
  8. Are music video's in 35mm typically shooting 3-perf?
  9. Barry Cheong

    1st 35mm shoot

    I'm in the very same boat preparing to shoot my first project on 35mm. I'm probably going to go with the BL4 or Arri III as was suggested here. It'll depend on the script and whether it calls for sync sound or not... Good luck and keep us posted...
  10. Can someone describe Ultrabounce - colour, texture, etc? How does it compare to bleached Muslin? Is it a Matthew's product? Thanks! Barry
  11. Thanks David for sharing your experiences over the last few weeks. They have been interesting and inspiring to read. Will you be posting any pictures of any of your setups?
  12. Not for the 12" and 9" Mini-Flo's. Only K2900 and K5600 according to the site. http://www.kinoflo.com/sales_catalog_2004/.../truematch.html
  13. If you go to www.kinoflo.com there are FC charts. Kino makes a K5600 tube and K2900 tube. For some reason they don't have a K3200 tube.
  14. Has anyone tried Matthew's Road Flags yet? I'm interested in their frames in particular. I'm worried they can come apart fairly easy - it looks like they just slot together. Are they heavily dependent on then tension of the rag to keep the whole thing together? I wanted to use the frame with my own custom materials.
  15. I believe it's a bunch of 15amp edison/household outlet boxes mounted on a board. Someone might want to confirm that though...
  16. I actually like the Pro Light quite a bit. With the 12V operation option it's a great light but it's definitely not a fresnel. The barndoors aren't so great and it's difficult to get a hard cut with out having some black wrap or a set of flags. That said it does make a great backlight or eye light with some diffusion.
  17. What are people's thoughts on the ETC Parnel vs the ETC Source 4 Par? I just picked up a used Source 4 Par for pretty cheap. I haven't taken it out yet for any real world testing. I'd like to know how it compares to the S4 Par in general.
  18. How about lining the windows with tracing paper?
  19. I think he means sash-cord. It's essentially like rope. I like to carry a few small pieces on me too - 8-12" long.
  20. Thanks for the all the responses. I have talked to my 1st assistant to try to reduce dust and debris as much as possible during the shooting process. I just noticed it quite a bit while looking at other people's rushes - although now looking closer at even larger productions you do see it every once in while though not nearly to the same extent. Is there a certain quality level/class that one must pay for better handling at the lab or transfer house? Or is it the same across the board? The school is covering all the backend post expenses so I'm not privy to that info.
  21. Hi! I've been working on a variety of student productions that we've been shooting on an Arri SRII S16. The film has been processed and has undergone a supervised transfer to Betacam. Looking at the rushes I've noticed dust and other artifacts appearing on the footage. Not all over the place and not on everyframe (not a scratch) but just the usual mix of things popping up here and there. I'm wondering how larger productions avoid this? I know a lot of network TV shows and music videos also shoot on super16 and there are no artifacts there. Is there a digital clean up process that these productions go through? Is it a lab thing? We are shooting in a studio where it's relatively clean.
  22. I think the common understanding is that it's a half stop for singles and a full stop for doubles. Out of curiousity i checked my Matthew's 18x24 set and I found singles were more like 0.7 of a stop and doubles were 1.2 stops if I remember correctly..
  23. Each DP/Gaffer relationship is a little different. I'm currently gearing up to shoot 4 projects in the next month as part of school. I'm gaffing 2, key gripping another and finishing up the month DP'ing a show. Each relationship with my respective DP's and as a DP myself has been different. I think the key in prep is to know as much about the script and production as possible and to make yourself available to your DP when needed for consultation, etc. I've gone over lighting plans and gearlists, lighting strategies and various other things with all my DP's. As a DP i've consulted a little bit with my gaffer and will do so more as the shoot day approaches. On the day, keep a watchful eye, be focused and come prepared with all the necessary supplies. There's an interesting read at Cinematography.net about the DP/Gaffer relationship: http://www.cinematography.net/Pages%20DW/G...KudosCrimes.htm http://www.cinematography.net/Pages%20DW/J...otTheGaffer.htm http://www.cinematography.net/Pages%20DW/J...Gaffer__Mk2.htm
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