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Dave Plake

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Posts posted by Dave Plake

    Blue Cyc

    in Lighting for Film & Video

    Posted

    Tell the producer you want to shoot it all with flashlights. The maglites. Either she'll give in, or your talent will be walking around with flashlights.

     

    Realistically, large chinaballs from the ceiling, and some kino divalites 400 in front. The flashlight trick only worked once for me.

     

    -Adam Cohen

    DP, Los Angeles

     

    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!

    pushing 7218

    in Film Stocks & Processing

    Posted

    yeah there's been a lot of talk about this very subject lately. the consensus is that pushing any 16mm stock will increase grain. with film there is always some grain, with a 500 speed 16mm stock there is typically more, and pushing doesn't necessarily help your cause. rating at 800 asa and pushing a stop will help you print down later on and get richer blacks. it will also help you do the same in telecine if you aren't making a print.

     

    of all the 500asa films out there, 7218 is definitely the finest grain stock yet. the best thing pushing a stop does for you though, in my opinion, is it allows you to potentially not shoot wide open. so you can look at it this way - you might not necessarily need less light, but you can work with lower light at a healthier stop and give your first ac a fighting chance. as i posted about this somewhere else, 500 asa is fast to begin with, pushing a stop just buys you a little insurance. pushing will add contrast and will increase your saturation, but again it really depends on what you're shooting (ie how wide, whether or not you have practical lights you can suppliment, what your lighting package is, any slow-mo, etc).

    grain is truly relative - it's always there, it just depends on how much of it really bothers you and what's apropriate for the story.

     

     

     

    Joseph...Dave thank you to both. Very informitave. I think I am going to go for it. Rate it at 800 an push one full stop.

    Blue Cyc

    in Lighting for Film & Video

    Posted

    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!

    pushing 7218

    in Film Stocks & Processing

    Posted

    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

    pushing 7218

    in Film Stocks & Processing

    Posted

    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

    Bolex H16

    in Cine Marketplace

    Posted

    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

    Wanted: various Bolex H16M parts

    in Cine Marketplace

    Posted

    Hello,

     

    I´m looking for the following, for a Bolex H16M I picked up from an estate sale:

     

    1) wind crank (not the re-wind lever, but the main crank)

     

    2) viewfinder (pref. 10-150mm?)

     

    3) any non-reflex C-mount lenses anyone would have kicking around (pref. a zoom)

     

    Cheers,

     

    Matt C.

    Toronto

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

    Day for Night

    in Lighting for Film & Video

    Posted

    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.

    Beach Exterior...models

    in Lighting for Film & Video

    Posted

    if you use 46 or 05 stock, keep in mind: shutter angle at 45 all day + Nd or Pola.

    Unless you enjoy working at a T 8 or 11 on prime lenses. Ill go for ULtra Primes.

    What if you use 5248?.

     

    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?

    Beach Exterior...models

    in Lighting for Film & Video

    Posted

    5205 is slightly lower in contrast, with less intense reds (the Vision-2 look), finer grain and slightly sharper -- overall a "cleaner" or "smoother" looking stock with more neutral color response.  5246 is a little "snappier".

     

    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!

    Beach Exterior...models

    in Lighting for Film & Video

    Posted

    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

    reflective spot meter

    in Lighting for Film & Video

    Posted

    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?

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