Barry Cheong

Hi! I was wondering about shooting lighting fixtures that appear in the frame? I've noticed that on the b&w video tap we have on our schools SRII that it causes this strongly pronounced vertical streak. Will that effect turn up on the film? What is the best way to shoot a light fixture without getting flare/streak - IE: Raging Bull (the boxing scenes) where you see 9 Light Pars, etc. The scene I'm shooting is a press conference looking at the audience from the front stage panel. The light falls off quickly and leave the far background black except for a row of 3 1K's I'm thinking of putting in the frame. Thanks! Barry

Hi! I was just shooting and I slipped on a patch of ice while wearing my Sekonic 608C meter on my hip. I hit the ground pretty hard - after getting up I quickly examined my meter. Much to my horror I've cracked the neck of the rotating meter globe - it still spins though. The meter still turns on and seems to meter properly (for both incident and spot mode) although I haven't checked it against another meter. How much would something like this probably cost? Is there anywhere in Toronto that I can send it? Thanks! Barry (I hate ice!) Student, Toronto.

Thanks for all the suggestions! As a test I tried flashing a modern on-camera electronic flash with my DVX100A in 24PA mode at 1/50th of a shutter. For the 12 flashes I made I got 3 that gave me a good white burn-out. The rest of them you saw a partial flash or nothing at all. As suggested I'm just going to have plenty of them firing off at randomly from everywhere and I should catch something. I'm doing a test next week on the SRII. Thanks again!

Thanks Stephen! I'll keep hunting through ebay. Are there any other methods just out of curiosity? I'm thinking I might need a lot which we don't have the budget for. Thanks! Barry Student: Humber College Toronto

Hi! I'm prepping a low budget student short that shoots in early March. The scene is a press conference with media personnel snapping photographs, etc of the main character on a stage. I'm shooting Super16 on an SRII. I've been told that electronic flashes will not work because they are too fast. I was thinking I could put lights on a hand dimmer and get my electrics to flash it quick.. How fast/slow should it generally be? I was also thinking shutters. We have no money to rent proper film lighting shutters but I was thinking about those wood panneled shuttered doors you can get which has a lever to control it. Any thoughts on that? Thanks very much! Barry Cheong Student: Humber College Toronto

There seems to be an AC power supply. You can find a pic here: http://www.kinoflo.com/sales_catalog_2004/...kamio_sys2.html You might wanna confirm that though. I've never used the Kamio.

Thanks guys! I'm looking to add 1 or 2 3x3 frames. Just wanted to see if there were any preferences, things I should think about, etc.. What does the term "bamboola" refer to when talking about gel frames?

Sorry for the confusion I was meaning gel frames (like the common 3x3 and 4x4) put into c-stands in front of lights. They seem to come in either a square tube design or a flat thin design. They both seem to be used for the same application. http://www.msegrip.com/mse.php?show=produc...oducts_ID=26062 vs http://www.msegrip.com/mse.php?show=produc...oducts_ID=26067

Was just glancing through some grip catalogues and out of curiosity was wondering why they make both flat and square gel frames? It seems to me that for gel application flat seems to make more sense. Are their any benefits to square? More rigid maybe?

Thanks! The input is appreciated.

Can anybody comment on either of these 2 lights? Source 4 PAR (not the Source 4 Leko) http://www.etcconnect.com/products/products.asp?77 or Altman Star PAR http://mail.altmanltg.com/publicsynergy/do...%2DA&Country=US I'm just wondering about general performance and how well they handle in the harsher conditions of the film/video production world as opposed to theatre/architectural world. Also has anyone used ETC's PARnel? It seems like an interesting product.

That's a good suggestion Stuart. How would this affect shooting my rack leader? Are there are specific considerations/details I would have to tell the lab and the transfer house? Thanks!

Hi! I'm a film student at Humber College in Toronto. I'm shooting a short in February on Super 16 on a SR2. I'd like to compose the film in 2.35:1. I've had my teacher look at Clairemont in Toronto for ground glasses with no luck. Any suggestions on how it could be done? The film will be telecined to Betacam and cut on Final Cut Pro. We have no plans on striking a film print but you never know. Also I'm still entertaining the idea of doing a 1.85 extraction. Any negative issues I should know about with that process? Thanks! Barry Cheong