Daniel Madsen

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I am disillusioned, disenchanted, disenfranchised and STILL looking!!!!! Dan

I had a similar problem with a short I recently worked on. I am guessing it is more to do with the film loop than the pressure plate. It seems like if the pressure plate wasn't latched everything would be slightly out of focus. Here it looks like the film hadn't come to rest before the shutter opened (caused by such a small film loop that the film was essentially pulling on the camera motor). Just a guess, but I too was mulling this over in frustration. Dan

My understanding is it's a long arm that is used to extend over the set to hold something, usually a light. They can be made out of 2x4 or C-stand junk. Some lighting manufactures have prefab rigs... http://www.msegrip.com/mse.php?show=produc...oducts_ID=24093 http://www.msegrip.com/mse.php?show=produc...oducts_ID=26679 Menace arms are great for location interiors.

It is really very good and I like the combination of hard and soft light. Though I'm not sure whether I would have put the hot spot on her nose, maybe on an eye. Do you have anything a little bit wider? I think there is more of a challenge in mid and wide beauty shots than close ups.

Can you work on both the east coast and west coast as a 600 member? and another question... I am opting to apply for the 600 rather than waiting for the opportunity to be grandfathered in (and then applying). Do I need 100 documented and paid days within a certain period of time? I just got off the phone with a rep and he didn't mention any time period, but I wanted to make sure. Best, Dan

Kevin- I would be interested to know specifically what your responsibilities were as high speed consultant. Dan

The standard flo is much brighter than your illustration and will destroy your contrast. When I had to achieve a similar effect I ended up wrapping each flo in a lot of ND. I don't remember what density and how many times I wrapped each one, but either way allow everything to cool in between takes. In theory you could also close down a lot, but that would mean what ever light he walks into would have to be quite intense. Interesting design. It reminds me a little bit of this artist. http://www.gallerygazing.net/article.htm peace

step printing it is then.

I think you can achieve an exaggerated motion blur effect using a pellicule mirror mod on some Panavision cameras. Pellicle Mirror

$1500 for the package- take it or leave it.

I will be shooting a music video and want to achieve that ?other worldly quality? by shooting the action at a slightly higher speed (32fps) while having the artist lip sync to sped up music. Firstly, I would like to confirm that at 32fps playback will have to be sped up by 133%. Have you guys tried other speeds besides 32fps and with what degree of success? If you have a link to your work demonstrating this technique that would be great. I need to explain the concept to a director and a sample would make my job easier (I know samples are everywhere). I will be shooting on HDV so when I said I will be shooting it at 32fps, that was a lie- rather I?ll just do that de interlace high speed trick through my editing platform. Do you foresee doom with this technique?

I just finished watching The Dead Poet's Society and was pleased to discover that one of the DVD extras is about cinematography. The extra follows the cinematographer, John Seale as he reviews with some student how he lit a similar scene in the movie. He gets into specifics in terms of what lights he uses and where and how his approach changes based off of the season and time of day the scene is set. I highly recommend it!

*gels

1. are there any 16mm kodak or fuji motion picture films not available in daylight spools from their manufacture? 2. has anybody used sample gells out of a swatch book behind the lens of a Bolex H16s? Have the results been satisfactory? 3. (bonus question ((optional)) generally what is the cost of push and pull processing? I don't see a reason why it would be a particularly expensive process. Please advise. Dan

That was very rude.

how is the test arranged- practical, written or a mix of the two? how come practice tests aren't available?

I'd check out craigslist and see if there are any productions that will allow you on set. If you offered to help out that would be even better. Dan

What I don´t understand is how come the exposure doesn´t change as the dolly moves around the table. With a regular pola light is only polarized at a certain angle. Am I right or wrong? Dan

I am looking to rent a 20kw generator. Can someone recommend a rental house in LA? It seems like most rental facilities have 50kw and higher. Also, has anyone worked with a 20kw generator that has 100amp bates outputs?

Have you ever heard of Tenebrism? Tenebrism is an even more exaggerated form of chiaroscuro.

a production i am working on wants to rent several cars from private owners and not through a special movie car rental facility. the idea is that this will save him a lot of money. how does one go about getting insurance for the length of time you are renting the car from somebody or don't people usually do that? is it a matter of a special contract or using a car's existing insurance but agreeing to pay the deductable? any insight would be much appreciated. dan

In low budget situations use your location and time of day to your advantage. For example, have the car drive next to a reflective surface (building, 18 wheeler, rock face), shoot your car scene in early morning/ late afternoon when the sun is low enough to enter the car or find a back drop for the car that isn't so bright. How successful have any of you been shooting day cars interiors using a green screen and what best conveys a moving car other then the GS (shaking the car, shaking the camera, shaking the actors)? Dan

I'm looking for Arri 35BL manual online. anyone?

do different size bulbs (T8 vs T12) really need a different ballast? After all, T8 and T12 bulbs come in the same wattage.