Dave Plake

K guys, I ended up going witht 9 1K china balls and a 6K key with some pars for fill. I was able to get a 240 amp genny to power it. Thanks for all of your great advice!

I have been cooresponding with Mr Mullen a bit and I'd like to share my dilmea with the whole crew. I have a shoot coming up... 25'widex13'high painted blue cyc. Producer wants a couple of models at a time "hangin out and walkin around a bit". Director wants full body shots but there is just no budget for it. Gaffer and I came up with 20 2k space lights hung from cieling to light the blue wall and floor, couple of blondes for fill, 10k with chimera as key plus genny and cables. Was way too muich money for producer. So now how do I do this BARE BONES, and do it in a studio that only has 100 amps available and we have no money for a generator. Any thoughts on a method of attack and with which lights? Thanks!

This question I am sure has been posed but I was unable to find it... Does 7218 still look good pushed a full stop? I was planning on rating the film at 800, and pushing it a full stop. Any thoughts regarding grain? Should I only push it half a stop? D

This question I am sure has been posed but I was unable to find it... Does 7218 still look good pushed a full stop? I was planning on rating the film at 800, and pushing it a full stop. Any thoughts regarding grain? Should I only push it half a stop? D

anyone know any good lighting courses in LA that don't run more than a couple of weeks? In other words, not a semester long format, but more of a workshop. Thanks

I have an Angenieux 10-150mm and an Angenieux 12-240mm warshaue@hotmail.com

Of the lenses? RX Angenieux 12-240mm also Angenieux 5.9mm wide angle prime. Angenieux 10-150mm although not sure I'm gunna sell. All in excellent condition. I also use a 35mm Cooke zoom 25-250 with a bolex bayonet to PL mount adapter. I'd sell that for $7,000 The 12-240 I got in NYC at Cinevision for $2,200 but only want $1,500 for it. It is in Flawless condition. Want $800 for the 5.9 T2 D

I have a Bolex H16 13x viewfinder and a bunch of lenses, zoom and prime. Holla if ya need. D

I have an angenieux 10-150 and an angenieux 12-240mm zoom

Why did Kodak do away with 800T? The fastest speed film they have now is 500.

thanks!

Mr. Mullen I was told that when you adjust your polas, you are adjusting them in relationship to one another and absorbing all the scattered light - allowing only those rays that are perpendicular to your lens to pass. If you use one pola which blocks some of the polarized light, then underexpose, your are also underexposing your highlights, effectively reducing your contrast range within the image. If you use both a linear and cirlcular pola and do not underexpose your highlights, but let your shadows go black, your are increasing your contrast and yielding a more extreme result. I guess you have not tried this.

does anyone want to sell a samcine depth of field calculator? warshaue@hotmail.com

so no one's ever tried it huh? Rotating two polas against one another to darken a scene to look day for night?

What are anyone's thoughts on putting two linear or one linear and one round pola in a matte box and rotating them against eachother for day for night? shoot on a bright sunny day with tungsten film to increase blue.

I'll be at a 15 degree shutter the whole time and will be shooting a lot of slomo. I like shooting wide open because I hate depth of field. The less the better, so I'll be wide open with nd's even with 250 stock. ON a slightly unrelated topic I also need to decide whether I'll be shooting super 35 1.85 2.35:1 or 1.85 tv safe. Any suggesstions? I have shot super 35 2.35:1 and it went to DI and it looks great, but any thoughts?

Mr. Mullen...thanks for the info... I like the "snappier" look I think, however do you think that the 5205 is better at representing the skin of the models? Also do you recommend the Cooke S4 primes, or the Zeiss high speed PL primes? Thanks! anyone please feel free to answer!

anyone know the difference between 5205 and 5246 kodak?

I am shooting 35mm exterior of models on a beach. I need to make the models and their clothing look excellent. I am contemplating using both 5245 iso50 and 5246 iso250. Both daylight balanced films... does anyone know the difference between the 5246 and thew vision 2 5205? Anyway... am wondering if anyone can offer advice on just making them look good. Filters, lights etc. Should I shoot backlit and use a gold flexfill and blow out the background? Should I use promist filters? Obviously all very subjective and I am just welcoming any and all opinions on the matter. The landscape shots I must also get are not the problem for me. Just lighting the models. Any suggestions would be great! Cheers

Ok, thanks guys for the input... one more question. When shooting in color, what is "middle grey". How does it equate into a color scene.

could one of you ansel adams' school me on this spot meter? Should I expose for the 18% grey card, and then look at my scene and decide to stop down or open up depending upon the main subject, or shadows that I want detail in, or the brightest spots vs the blackest and then cut the difference? Any suggestions?

what other primes that cover super 16 exist out there in a focal length of less than 10mm other than the elite series? Thanks! ;)

I have a 17-85mm rx zoom that covers super 16mm and is c mount that I'll sell for $300 warshaue@hotmail.com Cheers

Is the Sekonic L-558Cine DualMaster worth the cash? Is it really that good? Anyone reccomend me not get this? D