joachim

Hi I´m about to do a shot were it´s only the 24 inch monitor that will be in frame. The image off the monitor will be soundwaves (using Logic or Pro Tools, Peak etc). Red soundwaves on black background. I would like to double check a few things with you guys as I haven´t shot on 35mm for over a year now I´m I right in assuming there is no problem with scan rates as it is with CRT monitors on a LCD? I´m planning to use my spot meter on the red soundwave to get correct exposure,I assume this is the way to do it? Anything else to take into consideration you think? Regards Joachim Hoge

Thanks. We´ll see if we can find some here in Europe

Hi I´m wondering what is the exact name for the 6 sided boxes you transport 35mm prints in. A director I work with wants to order some, but Neither he or I know what ask for in english. Do they even have a "name"? Thanks

I´m in the same situation. I´ve only shot CRT´s and synced the camera to the set. So LCD´s are preferable to Plasmas? Another question, how do you ensure correct exposure?

Thanks guys, so it seems the best way to do it is to shoot the B/W prints with a movie camera using the same colour negative as I will use for the rest of the shoot? But I risk getting "warm" or "cold" greys, any suggestion for filters to avoid this? PS I don´t think we will do a DI

Thanks Dirk. I really think this will be the way to go. Do I have any other options you think? Joachim

I´m doing some research for an upcomming project. The director wants a sequence of B/W stills, simmilar to La Jetee. Rest of the film is in colour. He wants to shoot the stills with a still camera, NOT grabbing frames from a movie camera. After some thought and reading around here and elswhere. My idea is to shoot B/W stills, make 8*10 prints and photoraph those with a movie camera. So I´m wondering if I should use colour film or B/W film when shooting the stills? It will be a print of the film, and I thought it would make life easier only to use colour negative film for shooting. Any thoughts on this will be appreciated Joachim

Hi Erik Just curious, did you ever shoot this project? I´m researching for a project where we the director wants part of the film to be stills ala La Jetee. I´m struggeling to find the best way to do it. I would think that the 35mm movie lens I can get will be far superior to the stills lens I can get hold of. Any suggestions? Joachim

Hi it sounds to me that you guys are not really answering the question (or maybe I´m off the mark). Sounds like the question is how it is to operate the two cameras. To start off, I have only used the PD170, but the HDV series seems very simmilar in lay out I have to say from that perspective the XL2 is far superior. It gives a more proffesional experience when you are shooting with the camera, read: comortable. The viewfinder is better placed and can be adjusted. I also find the menu easier accessible. The one drawback I can think of on the top of my head was that the iris controller became loose and it was difficult to set the F-stop. That´s a design flaw in my opinion, they should have used a wheel instead of the trip switch the are currently using That said, I don´t own any of the two cameras, and are starting a documentary soon and it looks like we will be using the Sony HDV. Good luck with your purchases

Hi. I´m just curious as I have never shot on any other shutter angel than 180. What would happen if you shot fast action/sports with a 90 degree shutter? Would it just get choppy, or do you have to go down to 45 degrees for that to happen? Would it turn out any "sharper"? Joachim

Hi Tjerker very happy to have found your thread. i was given a job shooting an intro for a TV show, using a Varicam and a bluescreen. (The production decided on the camera) I have never used the camera before, and only done bluescreen twice before. I was about to post when I read this. So to everyone who have replied (specially David Cox), thanks alot. Good luck Tjerker

Thanks Matt. I have been checking around a bit and as I thought "professional" lights just won´t do it. If I was to use HMI I would have to take them down at night and that´s not an option. Power is not a problem, we will have generators. I think we will try some kind of industrial light that they use on building sites. It´s cheaper and more durable. I have no idea of colour temrature on these things, neither does the rental companies ofcourse. I think they are leaning towards the colder side of the spectrum, but that´s just a feeling I have. If the lights are powerfull enough ( I think they will be), I will have to gel them and then adjust the white balance afterwards. I think I will have enough days in pre production to do tests. I will use fluorecents inside the house when walls and roof starts to come up. Regards Joachim

Hi. I wonder if anyone have any suggestions to my "problem". I have been asked to light a outdoor building site (they will build a house) for a TV series. The lights will be used 6-9 hours pr day 6 days a week for 2 months. It´s during the winter, so I expect snow and sub zero conditions for most of the time. What light would you use? I was thinking about looking into the kind of lights they use at building sites. Anyone now if they are any good for shooting? If they are any cheaper than "proffesional" lights? PS We are shooting on video and I will use the lights as practicals, I´m not trying to pretend it will be moonlight for 8 weeks straight. Any ideas would be appreciated