Werner Van Peppen

I'd shoot any plates and or shots which require effects work clean. That way you can add the effects/filers overall alter on and they will be more consistent It is best to get a balanced negative to the DI stage, which gives you maximum latitude to play with . Bear in mind DI is a tool and cannot rescue everything so a good neg is important. That said if you know that you want a specific look then go for it. Just be aware what impact it will have later on. I'd go and talk to the D.I. facility and get a feel for what they require and can do (is it their first D.I.?). The more you know the more you can anticipate problems. Speak to the colorist/DI facility manager about what you are trying to achieve. Good luck Werner Van Peppen systems Engineer, Quantel

I'd go for the HD100 any day. Capturing some tapes to premiere pro at the moment (HDV25P) No problems whatsoever. Incredibly sharp picture, reasonably large dynamic range... Don't get caught in the 1080i is better than 720P debate. It's good

I'd stop and think, probably walkaway if it's not fixed. Potentially you could get yourself into a lot of trouble if an accident happened with your gear because somebody else couldn't be bothered with the safety rules on their equipment which your gear relies on.... Depending on the legal code in the US you might be part of the lawsuit. Here in the UK you'd definitely be liable in one form or another and it's up to the health and saety executive as to how much they think you are not you....... They can prosecute people, have people arrested, shut down sites etc. etc. Get it fixed.... Werner Sometime Gaffer and not doing anything without a massive earth with 100KW gennies...

Saw the aviator in Delhi last year with an intermission. Same in Holland, although in Amsterdam, more and more theatres are showing the film uninterrupted. Werner Van Peppen Post engineer (Quantel) London, UK (no intermissions here.... ;))

Always handy to have would be to get some chinese lanterns. Stick a photoflood in and you have an instant fill light. As mentioned before It's not the amount of light you have but what to do with it. I've been on a few shoots were we had a truck full of lights and ended up using one jemlight (a big fancy chinese lantern) with some duvetyne (or black velvet) to shape the light, leaving all these lights unused in the truck. If you're still buying lights I'd get some 300w fresnels. They're small (great for indoors) and quite versatile. I've got filmgear branded ones and they also take 500W bulbs which is nice as they have an extra use then. Get some dimmers for finetuning (if you're up to it get some dimmerunits from the DIY store and wire them up, only though if you know what you're doing) , A set of scrims and some stands to put flags on. In fact just get some wood and paint it black and you have an instant flag. Buy the book "painting with light" by john alcott for a good primer. www.theasc.com The only way you'll learn is by doing. Go out and shoot with a videocamera, study films, lighting setups. I'm always surprised at how few lights we can get away with. That's why the 300W units are great as you can take em anywhere quikly. Also think what do you want the audience to see/feel. Noir films are great in that respect as they sometimes don't show the main character lit at all... As for gels, some 1/2 CTO, 1/2 CTB, frost and scrims, however only you can decide (with a gaffer if oyu're hiring him) what you need which is why reading the books and websites is very important W Always handy to have would be to get some chinese lanterns. Stick a photoflood in and you have an instant fill light. As mentioned before It's not the amount of light you have but what to do with it. I've been on a few shoots were we had a truck full of lights and ended up using one jemlight (a big fancy chinese lantern) with some duvetyne (or black velvet) to shape the light, leaving all these lights unused in the truck. If you're still buying lights I'd get some 300w fresnels. They're small (great for indoors) and quite versatile. I've got filmgear branded ones and they also take 500W bulbs which is nice as they have an extra use then. Get some dimmers for finetuning (if you're up to it get some dimmerunits from the DIY store and wire them up, only though if you know what you're doing) , A set of scrims and some stands to put flags on. In fact just get some wood and paint it black and you have an instant flag. Buy the book "painting with light" by john alcott for a good primer. www.theasc.com The only way you'll learn is by doing. Go out and shoot with a videocamera, study films, lighting setups. I'm always surprised at how few lights we can get away with. That's why the 300W units are great as you can take em anywhere quikly. Also think what do you want the audience to see/feel. Noir films are great in that respect as they sometimes don't show the main character lit at all... As for gels, some 1/2 CTO, 1/2 CTB, frost and scrims, however only you can decide (with a gaffer if oyu're hiring him) what you need which is why reading the books and websites is very important W

The reason that PAL does not have a hue shift/button lies in the way the signal is created. PAL means Phase Alternate Line. The luminance (B&W signal) is overlaid with a sine wave. The phase difference with a refernce signal (this is the colourburst before the luminance signal ) the height of the sinewave determines the saturation (done to make the signal backwards compatible for B&W tv's. Noe the trick is that for every other transmitted line the sinewave changes phase, end therefore any shifts caused by atmospheric interference will be cancelled out per pair of lines when the phase is reversed in polarity for the hue to be recovered. As these lines are very close together the difference gets averaged out. Our eyes are much more sensitive to luminance than chrominance, so small errors like this (smaller than NTSC at least) are impercebtible. Add to that the 100 extra lines 720x576. The 25fps temporal resolution is a small trade off, and most people like to emulate the film look anyway.. Also a point aside. I'd like to point out that for an interlaced signal the kell factor determines that the maximum resolution is 2/3 of the line res. ie: 1080i = 2/3 * 1080 = 712.3 lines. I'm getting pretty tired of people going for the numbers game. maybe they should buy a HVX200. I hear their CCD's have lots of pixels....

Correct they are more directional. Some variants have a silver reflecting surface on the area from the metal thread to where the sharp bend in the glass is. They're quite common. Usually used for small spots (think clamp on lights)

Reading it again you might be right. It's not really explained or shown in detail. From what I read in the article is it must have been sitting on ashelf for a number of years and got some rust on the drivemechanism.

my $2c or pennies in the Uk... Reason is suggested an openface (redhead originally) is that they're so darn cheap 2ndhand. I agree that if space weight is an issue the lowel kit becomes interesting. I'm kinda spoilt that I usually drive a car/van/truck with a few dozen or more lights and am far removed from my run/gun days. Another link I found which is very interesting is from Walter Graf. On his website he give some examples, including homemade fluorescent!! for about $20... His pictures/examples look good, so see if it works for you. http://www.bluesky-web.com/new-page6.html If you really wanna go for fluorescents get some hydroponic grow lights and buy some kinoflo 55W tubes (tungsten colour) this light for example (uk only sorry): http://www.hydroponic-shop.com/product_inf...products_id=676 can also be bought without tubes so the price is a lot lower (and runs flickerfree ) so I used a bunch of them and their 4fixture friends to light up a large area. For the price of one divalite you can't complain...

Hi, I knew there was an article about oceans 11 (which was shot in a casino and i've found it:) http://www.stevensoderbergh.net/articles/2...matographer.htm Hope it helps a bit. At least you can see some of the effects he tried (not sure how succesful though) if you've got a copy of the film Best of luck My $.02 re lighting You could also try to work with practicals in a 2/3 strip wagon rigged with practicals or photofloods above the actors with black skirting to fall off outside the table. Gives a nice soft warm light. If you really want to go warm use normal household bulbs.

920x1080 and 1280x720. Pal is 720x576 that means that with 1080i the effective resolution is 1080/100 * 66 = 712.8 lines which begs me to wonder, how come the marketing machine is so good at making people drool over Interlaced HD.... One of the reasons progressive has a lower horizontal resolution is that there are no fields and therefore no jagged edges which make movement less sharp. (As i'm recollecting from my tired brain)

Leider fehlt im Sucher ein Spiegel und It means that there's no mirror in the viewfinder, which from the design of the camera must be the mirror shutter. If you're hunting for another auction in German drop me a line and I'll translate it for you. Werner

I'd get an 800W or i believe they're 650W open face. with some 300W fresnels (you can get away with one). Get some hampshire frost or opal for the open face (or a chimera box) to create a nice soft flattering sidelight and use the 300w as a hairlight. Get some white polystyrene boards from you local dyi store and paint one side black (for negative fill) and use to bounce some openface light back on the subject. The other 300W can be used to rake the background to create some interest. If you haven't got the money get aq chinese lantern for the flood with a photoflood or a exposure bulb.

One thing you could try is to have some small weather balloon (they're usually white) and bounce a fresnel off them when they're up. A trick they used in Brokeback mountain (read the ASC issue with memoirs of a gesiha on the cover they have some pictures) to simulate fireworks going off as reflections on the actors faces. I can't find no reason why they cannot be used to simulate moonlight.

I like the screenplay, but woul like to make a suggestion... How about the two of them are driving the car with one of them instructing the other learner driver.. THEN, the mom is the leaner driver and the SON goes off to get some money, whatever. In the meantime the BANKROBBER gets in and forces her to drive off. I think it makes ofr a much stronger premise. Think mom with naughty schoolkid (bankrobber)?