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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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  • Website URL
    http://www.adriansierkowski.com

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  1. Also if you want to play around, onyx and grand ma both have DMX programs you can download. But.... I... Yeah... They currently make no sense to me despite multiple hours of YouTube webinars
  2. https://www.capture.se/ The demo is free but limited to 90 minute sessions and you can't save. Works well with blackout but will read anything sending artnet or scan over the same network.
  3. Hey Ben Lighting designer can, I think, do, photometrics, but to be honest with you, a lot of that comes from experience. Lighting designer is more too show to producers what you need where, and when. And to help you visualize things. Especially as it's mostly to scale, so you can see how large an actual unit will be in a location. I think the (much more annoying) program called Capture has more realistic photometrics and camera stuff in it, but that is well beyond even my own modest wheelhouse. Having hated iPads for a long while-- now that I have one-- it really makes my work a lot easier and I don't think I could be as effective without it now.
  4. You are of course welcome to my Fuji if you need.
  5. Honenstly I think I would go with a menace arm/ Speedrail or a JR Boom. I feel the cost/benefit of a max mini just isn't really there. The Max will take the weight of the head and little snoot; it's 1/2 the rated working weight; but honestly it is something I would feel much more comfortable hanging a lite-mat on.
  6. I wonder if something with an electronic shutter might not be better as there are no real moving parts?
  7. The only type of light I could think of owning would be a light you use on every single set. Something specialized to you-- like a ring light, or obie type system. Maybe a set of titan tubes or Helios? or the odd Litemat. Many folks I know keep those smalls that can fit in a closer handy. In times past, something like a Kino Flo Car kit, (or currently the mini Litegear light sticks) were often owned by a Dp or a gaffer and then rented for a kit fee. Another very useful thing to have is an assortment of practical globes-- I really love these 11W 130V sign bulbs that render wonderfully in lamps. But big units-- no; no thank you. Personally the only light I have is a a single helios tube, which is generally use to test out my wireless DMX/FXs and stuff on a small scale, or for a work light. I might get something like a MC light pro kit (that has CRMX) or maybe some astera bulbs-- but again, nothing that couldn't fit in a Fiat 500....
  8. If you have an Ipad the program Lighting Designer (LD https://apps.apple.com/us/app/lighting-designer/id511366142) Can be very helpful in not only making up lists, but also in showing an overhead plot to producers. Some (not so great) examples from my own stuff. Also helpful to plot out DMX, when you get into that world. Also Apps such as SunPlan are vital on scouts to get solar positions for time and dates. If you want to start getting crazier, you can get into programs such as capture and a lighting console (I use blackout) to start doing rough previs for producers. With capture you can really start to get an idea of outputs at distances but I personally find it VERY annoying to work with. notoplight1.mp4 toplight.mp4
  9. You know it's times like this where I would consider using a respectable DSLR and renting an underwater housing for it; just incase. https://www.lensrentals.com/rent/ikelite-dl-housing-for-canon-eos-r5-mirrorless That's just an example, of course.
  10. Better safety nets and cheeses. Very important. Looks like we are going with Elation Monets for the FX. I messed around in Capture (not that I know what I'm doing) and the highers liked the look. notoplight1.mp4 And this is the very prelim lighting plot: (some things will probably change). Like loosing the Dynos for a 1200D through a 20x20 top that stills is providing for their work/ budget.
  11. I think the client would prefer the Rosco version over me robbing some Victorian spinsters household windows. Great find on the Rosco! (Hope you have been well my friend)
  12. I think projector would be out of budget for anything large enough /bright enough. We need the rays of light to come from top as a backlight. Something like this. That's the America dj version but when we add in the 40' translite bg and 12x20 softbox for key I think the poor little American DJ light will be washed to nothing lol
  13. Hey All. I'm working on a spot sometime next week which is doing an "under the sea" look with beams of light through haze for the caustic/water FX. I"m trying to get an idea of the best sources to make such an effect. Shooting on Alexa, we have a head-to-toe wide of talent in a Botticelli venus pose. I will want to control the heads via DMX via Blackout and ideally have dim-abilities. The best I'm coming up with currently are Elation Artiste Monets, as they seem to be a good output for the wattage/LED (so I can dim as need be) but as I'm very unfamiliar with moving heads / concert style lighting I wanted to see if anyone had any advice. My other option would be a Clay Paky Scenius but I worry that it might be too bright (can they be dimmed? the spec sheet says it's an HMI so I'm not sure?) I also keep seeing American DJ IRPro Water Projectors, but I am aware this is more a consumer brand, so I also worry about output as 80W LED. I wish I could show you the brief, but NDA and all that. Any advice would be much welcome.
  14. As far as I know no black magic has any stabilizer
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