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Adrian Sierkowski

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About Adrian Sierkowski

  • Birthday 09/03/1983

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  • Occupation
    Cinematographer
  • Location
    Los Angeles, Ca

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    http://www.adriansierkowski.com

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  1. What you need is Grip equipment. Get a bunch of Solids and Diffusion; when you want it "gloomy" use every inch off screen to create "negative fill." When it's more uplifting, diffuse the lights (with a book light, bounce into a 4x4 bounce and then through a larger frame of diffusion) Also, get production design to help with lamps. Use them to motivate the lighting, or add pops of luminance in the background. You'll want/need dimmers or lower luminance bulbs though.
  2. Generally speaking a 1 ton should have about 10 C Stands about 2 Grip Head Combos Casters for Grip head combos frames up to 8x8 with neg, bounce, diff, and nets (so 6x6 and 8x8. Ideally with Full and half grids for diffs) at least 4 4x4 flops a few skinned diff frames nets at least 2 families of apples (and 2 spare apples) 2x3 and 18x24 sets, one each, but with a spare solid Ideally a meat ax/cutter or wag flag (6x 4) wedges a wall spreader kit (2x4 or speed rail some rigging stuff (c-clamps, furniture clamps, cardis, etc) some adapters (baby/Jr) offset here or there and a Menace Arm kit some speed rail (1 12/ 2 8 and 2 6) There are no lights on a 1ton grip. That's always an add on. For reference this is the copy and paste of a basic 1ton here in LA from a certain low budget rental house: 7 C-Stands; 1 Short C-Ctand; 2 Regular Combos; 1 Baby Offset; 2 Baby Plates; 2 Duckbill Holder; 1 Foamcore Holder; 2 Ceiling Clips; 2 Jr. to Baby Adaptors; 2 Jr. Grip Heads; 2 6" C-Clamp w/ Baby; 2 12" Furni Clamps; 2 Mayfers; 2 Cardillini; 5 Safety Hangers; 1 4-Step Ladder; 8 20lb Sandbags; 4 Full Apples; 2 Each 1/2, 1/4, Pancake Apples; 5 Each #1, #2, #3 Grip Clips; 2 Furni Pads; 1 Each 18x24 Single, Double, Silk; 2 18x24 Solids; 1 Each 2x3 Single, Double, Silk; 2 2x3 Solids; 1 6x6 Butterfly Set. It goes for 85/day or 170/wk. I think it's lacking in a few things vs mine, but it's a good base line.
  3. I’m going to buck trend here and say I wouldn’t ever reach for a Tube over an LED simply because of how EASY it is to control the LED with dim and offset. We are moving towards a more digital world, and it is becoming increasingly important to have fine level control over your lights. The cat is out of that bag and anymore you have more money than you have time, it seems, so the speed with which you can adjust LEDs really pushes them forward. Quality is a funny word. If we only really wanted spectral quality we would be all tungsten with Dichrotics or Carbon Arcs when we need daylight. But sometimes it’s quality of life that is more important, and as you go towards LED you really do simplify a lot on set. Hell It’s hard for me to order an M18 anymore when a (rented) 1200D is as bright as it is (though flimsy and will certainly break, but it’s a rental..)
  4. I would get a few Aperture 1200Ds. I would also get LiteMats; either Spectrum, or the updated ones. I would drop the Geminis, the Spectrum LiteMats are in my opinion much better. Especially the 4 or the 2L I love John over @ Hive but the Plasma 1K never really took off. I do like their WASP RGB LEDs, and I THINK (keyword there) they are designed to interface with film lighting gear a little bit better then Bowens Mount stuff. But, The Polly-Cat (which is what I‘m calling that light from now on!) has better name recognition. If you wanna splurge splurge, get Vortex8s in place of the Spectrum. They are FAR more robust. Titan is a good call. NYX is a good Call. Lite-Ribbon on it’s own is kinda “eh” but if you built it out into a kit that you can use for car rigging then that would be a killer addition and great add on to have on any show. Kino used to make car kits, as did lite-gear. I don’t know if they still do, but If so, get that. I kind of personally dislike the CLRS kit— it doesn’t really fit into the style of shoots I have been on recently. That said, I think it is a good item to have around because it is specialty and rentable to other productions to certainly keep a hand on that. I also think you should look into wireless DMX (CMRX) for all of this via either Blackout or Lumier, just because it seems that that is a type of control we are moving towards and on smaller shows, with your own, already paired lights, it can be a major time savor. I don’t know what kind of rental houses there are in Maryland, but there are a few in Philadelphia and New Jersey which may have many of those units in stock. It might be well worth while to ask if you can go in and see them and see if they would be interested in a consignment of your gear with them when you aren’t using it. This would mean a lot more if you happen to go with the name-brand stuff which seems to be out on ever show.
  5. I feel like here there is at once too much and too little crew. But the US is a strange beast. Wanna sponsor me a visa I can help thicken the ranks!
  6. Have a safe trip to Colorado.. Enjoy those trains.
  7. Doing alright on the whole Did loose a feature last week, but that happens and to be honest, probably dodged a bullet. Glad to have seen you flying some s16mm recently!
  8. My thoughts exactly! But I'm ok with it. Looking forward to the photos Phil. Hopefully it hides the post pandemic stomach.
  9. Sure has been awhile. Just wanted to say my hellos to all still on here and heartfelt wishes that everyone has been doing well and weathering the world as wonderfully as possible. Certainly is nice to sneak back onto the forums and read things over. I really shall attempt to be as active asI used to be going forward.
  10. Stick with what you have until you NEED another camera. Invest in the accessories that work on EVERY job, such as wireless video, wireless focus, tripods etc. Chasing the new cameras only really gets you broke. RIght now everything is either back ordered, or hyper inflated (LENSES!) so unless you absolutely NEED a doo-dad, give it a break, save the money, and see what comes. There’s nothing wrong with an FX6. Hell, I’d take one right now if I could.
  11. Which apps? I would love something to help me unify skypanels, spectrums, and titan/Helios colors/gels through blackout with regular geld hmis and tungsten.
  12. Hey all. I haven't been on a phantom in a long time but I may have a gig with one upcoming. That said I'm a little concerned with phase and flicker. I'm planning on 10ks and skypanel 360s in high speed mode. In that case do I need to worry about running them on 3 phase? Will the decay time on the 10ks filament save me the headache? Any gotchas with the 360s --aside from no dimming in high speed mode? We are going up to 1000fps but could probably get away with slightly lower if there's a way to save worry. Thanks and hope all is well with all.
  13. Tyler, are the parking areas still open up in the national forest? Been meaning for a good hike and do enjoy it up there. I've been re-readying poetry. Also, as I love sci-fi, somehow got hired as a consultant for a little bit of money, on a sci-fi pilot a friend of mine is creating. Basically helping them with the more science-y things of it. Still trying to finish ST:Picard as well, but it boils my blood a little bit. Also have been cooking again, which I really haven't done much for myself in years. Last night as pork-chops in a dijon wine pan sauce, tonight is spicy ramen with mango roasted chicken.
  14. Those two are Mogul base, though. Do they even make a Mogul to Edison adapter--- I know they have an adapter to decrease Mogul sockets to Edison but haven't ever seen the other way around.
  15. You can't buy a Panavision, and in truth, I don't really see the benefit of owning a film camera. Like any mechanical thing, the up-keep can be problematic. I used to own film cameras. I miss them, but honestly, much easier to call up a house and get a package you know is in good shape and repair.
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