Daniel Madsen

I seem to remember under some circumstances you measure from the front nodal point. This could be for close up photography. I'll get back to you.

http://www.modernstudio.com/newproducts.html The DIGITAL CAMERA 5/8" STARTER is an option. In the interest of saving money you could also clamp a tripod to the gobo arm of a c-stand. The c-stand (or combo stand??) quickly becomes a 20+ foot tripod....run a video cable down to the ground and you can see what you're shooting.

It is a very informative video, nonetheless, an advertising cesspool. Bob give some good advice about setting the stop of a film camera; it should be the last thing you do so the camera operator can see the rehearsal as brightly as possible. Thanks for posting!

I will be gripping a film next month which will involve a lot of driving shots. Does anyone have any suggestions in terms of camera support? The feature will be shot on 16mm. I don't know the exact camera but lets assume the camera weighs 35lbs. From doing a little research the panther multi mount looks good and very versatile. Mathews on the other hand makes a hood mount system based on speed rail providing a place to secure lights. Have any of you used a hostess tray with a seat? I saw a picture of one and imagined the leverage being bad for the door not to mention dangerous for the operator. peace

Have any of you folks found the HVX to have a really unreliable HD Analog Component output? A poor connection is causing the directors monitor to always lose its feed and a director to lose his cool. Any suggestions in terms of cables? Have any of you opted to use the S-video output because of this problem. I'm always careful to relieve strain from the connector but the problem persists. peace

If the budget of your film allows it, get a paint box. The paint box is an external computer that allows you to control all menu functions. It definitely makes what is an enormous menu much less intimidating and is great if you are doing a lot of in camera effects. The paint box isn't great for hand held or steady cam so know how to transfer the memory card from the PB to the camera body.

do you fellas make the disticting between a "camera tech" and a "camera prep" ?

I like the three shot and the single. Not having a warm practical in frame, doesn't bring as much attention to the cold uncorrected daylight, which I like. I like the blown out windows too and personally would have made that a theme through the entire scene. The frame second from the bottom is a little jaring being it is a wider lense with a subject fairly close to camera....how did it cut?

pilot and bloop...what is this??? Have any of you used a resistor to lower a batteries voltage so it can be used with a smaller camera?

If I am taping multiple CRT monitors will a clear scan function remove the revolving bars from all of them? Best.

how about photochemically to start.

You must treat tungsten lights completely different from HMIs. With tungsten lights you just use electricity to heat a filament- it's relatively simple. With HMIs you have to power a ballast which requires much more current because it is an inductive source. With an inductive source voltage lags behind amperage requiring more current at one time for the same power output. A 1.2 watt HMI actually requires between 18 and 20 amps. A 4ft 4 bank requires around 5 amps I think.

kinos underwater?

I would call this an inverse telephoto design.

David, I really like the still of the watch/traffic- very powerful. After seeing it I have a strong urge to see how both the traffic and watch are related. It would be nice to see it in motion. As far as political speak , I encourage it. We cannot afford for a second to forget what is happening to the world.

Last time I checked you could download for free the ASC mag that featured 28 weeks later at the ASC website. One thing I loved about 28 weeks was the opening scene where the light was completely motivated by candle light. It was very dim and in strong contrast to the blinding light that comes through the walls when the zombies attack. I actually had to close my eyes until they adjusted.

I hate to say this, but the nature of business is to maximize profit in whatever way necessary. This is why many productions go over seas, not just because of tax incentives or a nice backdrop, but because of a cheap labor force and little regulation. You many not be able to blow-up a city block in LA but go to Thailand or Mexico- no problem. Businesses go to great lengths to avoid regulation so we should expect this from the studios (aka publicly traded media conglomerates) we are supposed to admire.

Of course higher output is not the result of using a bounce board. I am wondering why more light is "bounced" when a white surface is filled completely with light rather than just partically.

I am aware that by filling a bead board with light (at which point the bb becomes the source) greater light output results than if you just spotted the light on a small section of bb. Wouldn't it make sense though that if you spotted the light into the bb, the bounced light would maintain its intensity for longer? I understand the working practice. I?m more concerned about the science. How about this one.... what would result in more light output? Placing a light next to a bb so that only a small section is illuminated or walking off the light, furthering the distance between the light and the bounce and thus the subject but having the bb filled completely with light. Danielle.

Columbia College Hollywood is a poor film school for the following reasons: 1. Many of the teachers are unqualified to teach. Some teachers in fact, have neither an MBA nor practical experience in the subject of their class(es). I could give you specific examples in the cinematography department but won't for the sake of space. 3. Poorly organized- everything from the financial aid department to class syllabi. 2. Students don't understand and haven't been taught to understand the concept of teamwork. Finding people to work on your project is impossible because most people are self-involved with their own work. This leaves most projects sub-par. In my opinion most film schools that specialize in only film are a scam. Their marketing campaign consists of convincing students that they have a bright future in film. This creates a student body that is very mislead and annoying for someone who just wants to study and work. Peace

If money is what you are after, more than a patent is required. "Contrary to a common public misconception, a patent is not a right to practice or use the invention. Rather, a patent provides the right to exclude others from making, using, selling, offering for sale, or importing the patented invention for the term of the patent, usually 20 years from the filing date." I think its a bad and selfish idea. Another interesting, and possible hurdle though..... "If an inventor takes an existing patented mouse trap design, adds a new feature to make an improved mouse trap, and obtains a patent on the improvement, he or she can only legally build his or her improved mouse trap with permission from the patent holder of the original mouse trap, assuming the original patent is still in force. On the other hand, the owner of the improved mouse trap can exclude the original patent owner from using the improvement." Quotes courtesy of wikipedia.com

But more importantly is the lighting scheme. Muslin and silk may be a bit thick for a 4k tungsten fresnel, especially if you need to fill a large area. A bounce will provide a bit more light. But quickly back to the technical.....do they make a 4k tungsten fresnel? They make a 2.5/4k HMI, in which case your current estimates are way off, as you need to take the inductive qualities of the ballast into account. 4 lights in a semi-arch sounds like a recipe for multiple shadows. If your primal subjects are wearing mud to camouflage their faces, why not legitimize the mud’s purpose and make them difficult to see.....not that difficult but maybe a eye light rather than a strong key from the side.

Place some light diffusion (hampshire maybe) over the working screen (so you can't see detail) and bounce some blue light off of it.

A confusion of terms I think. But assuming I understand you correctly, I would have to answer yes. Color saturation affects the density of the negative, which affects the color saturation of the positive. The only thing that gels do is affect color saturation. A red gel in front of tungsten light illuminating a red surface, when exposed, will boost the density/color saturation on film more than if you used no red gel. This is the same reason for lighting a green screen with a green light.

and why would you use such a thing?