william koon

Hi friends, am quite disappointed as no one tries to help me of the above matter till today. It is quite urgent. please help. Thanks

Hi friends, I will be the DP for a playback music video shooting lst week of June. It will be a few tradional dances enacted for the 1960s when fisherman kerosene lamps were used. The dances are planned to be staged on a built stage of 1960 illuminated by a few fisherman lamps. Please advise ways to light up this envirolnment. I have prepared 2 x 2.5 HMI (if needed), 4 x 2k, 6 x 1k, 6 x 800 w red heads and 2 x 350 dedos; a generator; blue and orange gels; C and crocodile stands; a Panasonic Pro50 camera. The whole shooting will be at night.

just curious............... Is 'tie in' legal ? I thought you need the electricity supplier company to do it for you. In my country, the meter is sealed by the supplyer. You can be fined.

Craiq A, Well done Craiq A. I join you to make sure that this forum is for all to learn no matter how stupid a person is as long as he/she does not make fun of it. Was the producer whom you commented a producer when he was born ? Surely not. Come on, let us be polite as David Mullen who tries to answer day in and day out to solve and answer anyone who joins in. David, I salute you. I respect and appreciate everyone who tries to put their thought in the forum. You may sometime get question being asked again and again but we have to remember the person who asks is unaware that the question has been asked. It would not be practical for him to run through the old forum first before he can pose a questiion. An instant answer by member saves him a lot of valuable time. Please dont scorn at people, we are not perfect. Again - Graiq A, I am behind you to make this forum platform a better place for discussion.

Can these make sense ? Somebody please help to explain further. I m afraid that these 3 explainations were written after hte 6 + 6 beers. Or we have to change meters every 16th hr. thanks.

I reckon it is the placement of the camera angle and also the light placement if it is not the sun. Of scourse it is quite difficult to estimate the amount of the flare. As the lens is turn around or the light is moved, it will begin with a line of circles appearing in the lens, which means that the light has strike the lens and then to real flare. I would suggest you to stop the light adjustment as soon as the circles just about to disappear changing to more flare. Do try out in few stages, you will get the one you disire. Good luck Chris.

Sorry for the ignorant. (1) Does 'telecine' only refer to 'film being transfered to tape' ? (2) Will improper telecine result noisy tape?

I think you should not be so worried about the cap. Do try to get a near size of a plastic bottle cover then paste certain layers of paper to exactly cap the lens. Does this make sense to save that money for other accessories?

Thank you all. The discussion makes me very happy and more confident with my execution. One more thing to confirm - does this mean that the contrast ratio can be high or low ? What I understand is normally low key requires high contrast (key to fill) lighting ratio. Pls confirm this.

I agree with David. Anybody could win the award, the gossip still stays. Let us not think so much of the award. Work harder with your self satisfaction contributing towards the world cinemas. Let the world cinema goers appreciate your work. That is the real award. Whoever wins the award, let us congratulate him and may he continue contributing more and more. Really, I appreciate his work in the 'memoirs'. Well done indeed.

How do I achieve day for night shooting? Anyone please explain detail procedures and conditions. TQ

FKP 1 & ian Marks, thanks for the suggestion. I appreciate your prompt feedback.

I have a day shoot tracking a car driver and the front passenger from a low truck where I intend to mount my camera on a tripod. What shall I do to get the best without car mount of course. How to get a 2MS visibly accepted without a polarizer ? and do I have to run 32fps to absorb the vibration as it has no dialogue? TQ

It is quite useful for asessing high light. I had borrowed one to try. By the way. Where can I buy one ? How much does it cost?

Hi, Am I right that all cameras take Winding B emulsion in ? But a member claims he has a camera which takes wind A and B. I am keen to pursue further information as an incident happened to me a few days ago. 3 rolls of fuji 500 negative Type winding B (emulsion in) were sent to a lab which later reported that a roll was without image. My questions are : (1) Could the lab save the situation before processing since the other 2 rolls which were in winding A (emulsion in) after exposure were sent together? (2) These reels were of the same batch but with different winding type. Could this be reasonable for the technician to suspect straight away in the dark room while rewinding? (3) I agree the job for the lab is to process and they don't have time to check every single reel. For your information, this lab is not that busy and we are his regular customer. BUT at least suspect it with just a touch with fingers. Do you think it is not professional for them? I am aware that the blame should go to the loader who unloaded the film. He did not do a good job. I am very certain that he sent the wrong roll which I am yet to find out. I need your help to help trouble shoot the mistake which gives us a good lesson. Hope to get a prompt advice from anyone. thanks & regards

regards Stephen, TQ. may I know the make of your camera which takes both A & B? How do you switch from Wind B to Wind A or vice versa ? Ohterwise the claw or register pin will tear the film.

Hi, Please tell me which 16 mm cameras can take both Wind-A and Wind-B film. How does it work ? Do we have to switch off physically one side of claw and registration pin to suite the film stock?

Hi Stephen & Dominic, thank you very much for the info. In fact I am not trying to push the fault to the lab. After your both explainationn, I have learnt that cameras do take winding A roll and the lab is unable to identify whether the film is exposed or not. I suspect that a shortend is sent to the lab. This info is very useful for me. regards.

I am in the mid to find out whether the shortend was sent to the lab. In the mean time I would like to find out whether the lab could detect it if at all the shortend was sent. I may be wrong as I understand that if the film is exposed in the take up spool of camera, the film is in winding A. Certainly the technician will detect it while rewinding the film before processing.

Hi, Shot 2 and a half rolls of Fuji 500 Negative, single perforation Winding B (emulsion in) with Arri SR III. The processing lab came back with the report that the 1/2 roll (200 ft) has no image after processing though the report stated that it had been exposed. It does not make sense, isn't it ? Please advise. (1) The lab should be able to detect the unexposed film while rewinding into the lab processing magazine if at all the unexposed film was wrongly sent, isn't it? But the lab confirmed that it had been exposed. (2) Was it possible the SRIII ran without exposing? If so, how? TQ in advance.

TQ David. It is of gread help to me. take care.

TQ David. Anyway What DTS stands for ?

Hi, I will be having a shoot at night in a house as well as outside the house in the open air. Is it a must to have the light source outside the window shinning through the window to be blue tint as moonlight ? How about the shots outside the house if the shots are not to be influenced by the light source from the house ? In other words, the light source is the moon. Can I light without taking into account of the blue tint by the supposed 'moonlight' ? TQ

Sorry for needing further explaination. When you mention DTC sync track printed on the film, does it mean magnetic digital track or something like DVD material pasted at the edge of the film ? I would be thankful if somebody can provide a diagram to illustrate. I am quite familiar with the optical sound track as mentioned. Do they run seperately like sepmag in theatre ?

I presume you mention this problem in ports. I thought that almost all ports are using filmsave machine to screen for security posing no threat to our film now. Can we thrust them ?