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Chris Pritzlaff

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  1. Has anyone out there found an inexpensive source for LED strip light / ribbon light? Obviously the product from Lite Gear is fantastic, but I've run into situations where some productions simply can't afford that quality and need something more cost effective, especially for larger quantities. I tried some I found on Amazon but found the green spike on those to be pretty horrible. Wanted to see if anyone out there had any recomendations.
  2. yep - 12 is considered the norm it seems. Music videos always run long cause it seems that they only have the one day to shoot with talent so those days seem to be a minium of 16 hours. I did one music video that ran 28. So its really all over the map.
  3. Kino and Wildfire make blacklight kino tubes you can put in your kino fixtures. I used those for a shoot a few months ago and it worked out really well. Also Wildfire makes some UV canons that put out a lot of light. If you need more control, I also know there are some leko type fixutres that I have seen used in theatrical venues, but I am not sure who makes those. Try talking to your local rental house. They should be able to point you in the right directiong
  4. I wish we had that kind of house power in the states! So frustrating to be on house power and find that your 1.2k s are plugged in with some other appliance and the circuit blows
  5. Also, no two flourescents are going to be alike. I gaff on a reality tv show and we spend a lot of time in storage units. Most of them have cool white tubes, but the age of the tube, brand of manufacture, ballast, etc are all variables. We just keep half a dozen varieties in stock and try to match as close as possible. Some people like to gel kino's to match, but I have found that even if you do manage to get the color temp right, it still looks wrong since kinos have such a high CRI. I guess you just need to figure out what look you need to have and find the solution that works best.
  6. You should be able to do that setup with a simple DMX board and dimmers for each of your units. You should then be able to program or manually operate basic effects
  7. Anyone have any examples of Deal Memos that they use when they are serving in the role of cinematographer. I am about to start a shoot and was looking at a copy of the deal memo given to me by production and it was rather generic. Lately I have been working primarily as a gaffer, so the deal memos usually don't bother me, but in this case, as I am now cinematographer, I wanted a bit more say in the matter. Wanted to lay out a few things not mentioned, including use of the footage for reel and promotional use, right to be included in the post process, etc. Also, when working on a pitch project, some sort of "right of first refusal" if the show were to get picked up as a feature length film. I know that gets tricky, but wanted to see if anyone else had done anything. Or even better, if anyone had copies of their deal memos they would be willing to send me? Let me know
  8. Hey Everyone, Its been a while since Ive posted here now, but wanted to come back to the community to seek advice. I am gaffing a reality based tv series and one of the ongoing components of the shoot will be a member of our talent being driven in the back of a cargo van. One camera will be back there with them as they talk about their experience on the show thus far and what they think they will face when they arrive at the location. I want to use kino tubes affixed to the celing of the van, which can be done easily, but powering the units is another issue. I had hoped to use the cigaret lighters and run inverters to power the fixtures, but those have all been stripped out. Someone suggested wiring the inverters straight to the battery, is this the way to go? Anyone else have thoughts? Someone suggested a 20amp generator strapped down to the roof since the van is traveling slow on closed streets, but that would ruin the exterior shots so that is not an option. I also am considering 1x1 light panels with battery packs for simplicity, but they are a little to hard of a source in my opinion for this particular application. If necessary though, I am considering that as my back-up option.
  9. I just found unopened rolls of 5217, 5218, 5299 - 1000ft rolls in the back of a closet. Also several cans of short ends. I havn't shot on film in quite a while - I suspect they are 4-5 years old. Think they are good still?
  10. I have two Big Bite Baby's on my truck - they look pretty much identical to the rhino clamps posted above - maybe slightly more elongated on the jaw but its almost the same. Ill try to post a picture tomorrow.
  11. If you just want the lingo used in the industry I recommend "Strike the Baby and Kill the Blonde" http://www.amazon.com/Strike-Baby-Kill-Blonde-Insiders/dp/1400097592/ref=sr_1_1?ie=UTF8&s=books&qid=1278664910&sr=8-1 Its essentally just a glossary of terms used specifically in film production and is a quick read and handy reference to those new to the production world
  12. throw duvetyne on the floor - that will usually suck up most of the light
  13. Post more info on what you are hoping to accomplish and details about the location and scene, and the members of the forum might be able to offer advice for your specific situation
  14. I would use a haze generator - not a fogger or smoke machine as they will be too thick. The haze generator will put enough atmosphere into the room to see the effect of the beam while still allowing the camera to see the action. There are many types of haze generators out there - I particularly like the DF-50 for the way it disperses the haze and it hangs in the room for a fair amount of time...im not sure who makes it but check your local rental house
  15. just sneak in some fill for under the eyes as needed on the closeups...if its a flourescent lit bathroom bring in a small kino with matching tubes. could even tape tubes to the stall out of frame if you get tight on space
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