Adrian Sierkowski

Pretty sure they are. I have the "deeds" to my own headstone and grave (long story), but the overriding ownership is the cemetery itself, and generally they'll set the rules-- but they could try to prohibit you. Though in truth I think it's just good manners to be respectful. As for the name of the project you shot, that's often why you work under a shooting name and when they cemetery asks, if they do, you tell them you're shooting a music video. There are times when it's better to ask forgiveness over permission, but I don't think a cemetery is generally one of those times.

In LA we just rent them, were I back in Philadelphia and the east coast, I'd just kindly go in and ask permission. I really don't see why it's that hard? There are plenty of cemetary's around and it's pretty easy to ask permission like a responsible adult. There are no more permits or laws for it, generally, though you really don't want to feature headstones without permission. If you were to just "go for it" you'd be trespassing on private property with all the intended fines and fees if anyone decided to call the police.

If director want's it moody what's wrong with letting them go dark in your wide and then when you move to your closes worry about lighting? What does the director mean by "moody" in this case?

It really won't make anything anything-- the film stock ASA is what it is. That said, yes, a BCA will give you more spectrum towards daylight (as would a Kino or an HMI and an LED) and therefore you would treat it as a 400 speed stock if that's your predominate lighting

Though you could be an amazing fisheman! Deadliest catch, body-mount edition.

yeah but when you use one all day you get to use one of those really cool exoskeletons and later-on pretend you're in a James Cameron sci-fi romp!

I'm sure the Sola probably is a 1600HMI equiv at like 2' distance. The problem with LED isn't so much the output as it is the falloff of that output. As for the center of the beam dimming-- that depends on the design of the unit but generally, yes it will dim as the angle increases, but how much is a function of the whole design (reflector and all) which is how, for example, the M40 can compete, reasonably with a former 6K HMI.

Your best way-- rent both and use a light meter. Photometrics of any lamp, specified or otherwise, will always be a bit off. Also, yes, the LED will not be as bright as a tungsten head once you start moving away from it. It's all marketing, honestly, it's marketing. The question really isn't "how does it compare to X" I think the real question is, will this unit, at this distance give me the output and spread I need for this shot given the realities (power/ rig time/ availability) of production. Beam angle wouldn't really enter into the photo metric number which would be measured center beam; generally. Sometimes some lamps may give you the photometrics of the beam edges, but, in this case, you're really just looking at a point in the center of the beam. The angle will tell you, at a given distance, how much area it will cover, but the real measure of the light won't match the spec sheet 100%

Generally after you use a ronin on one job they next one calls in a steadycam. The small ones, for small DSLRs, sure; fine but the big boys; it just doesn't have the flexibility a set really needs and when they are called on it's often a case of being penny wise and pound foolish. Now; when you're going to be doing some run and gun lifestyle thing-- stuff which may well have been on a glidecam back in the day, then sure, fine, upgrade, woo. But even then; a good steadycam op is going to give you much more bang for the buck and I don't think that perception is changing at all, honestly.

The comedy looking stuff doesn't really seem to fit into the reel at all-- I'd loose it. The Jack Daniels shot too is also too quick and sticks out a bit in a bad way. The Nike bit at the end also really doesn't work too well. Perhaps would be wise to shorten it all a bit; and maybe consider doing a commercial/MV reel and then a Narrative reel since often those two styles are much at odds. The opening shot also goes on a little too long-- and perhaps should be replaced by the guitarist falling. I would de-reverse the footage of the car going backwards down the street. without the context of the shot in the video it's from it seems off.

Could be; but It looks a little stronger in the center of the bed than would be if it were just the lamps. In any case were I to try to re-create I'd go for a toplight rig which I could turn off if the lamps in shot did the job for me.

I'd really bet on a Dedo. The Lamps are also gelled on the top to keep most of the light coming from the bottom . There's also a soft top-light in the room (possibly a Kino with Muzz or these days I'd probably use 4x4 Litemat with Muzz--- maybe 2)

You'll need a work visa first before you even start thinking union. And the work visa will be very country specific. In truth; it's much easier and cheaper and better for production to hire a local. The only time this wouldn't be the case would be if you're talking about a HOD (head of department) you want for continuity on the run of a show which has some shooting over-seas. And even then, you may well hire a local anyway.

It's basically always a 2 hour commute-- even if you're just going "down the street." One nice thing about film, though, is that generally, your call is before the bulk of traffic-- or if it is during the bulk, then you get less traffic at wrap. Within reason. Maybe look into Simi Valley, Closer.

I'm personally fonder of #2, and I'm stealing that WB trick (and making the mental note to order more dimmers for the other heads in play to keep them warmer in relation)

It's crazily hard here in LA for housing; but can be done; though honestly, the best way of doing it is to drive around and call places in LA whose signs have a vacancy on them. Not easy and I got really lucky on the place I have now. A lot depends on where you are planing on living as well.

Which me are you asking?

But do we know Tyler is not Samuel? Do we know I am not Samuel?!

Without a selfie how are we to know you both aren't Tyler? We've seen Fight Club; we know how this one ends!

Sorry you're right CTB; long day! And yes I would go jokers and then dim your practicals down to get them warmer and I'd keep camera around 3200-- that way you have a warmth inside, if wanted, and can probably leave the HMIs "naked" though personally I tend to fujtz with moonlight depending on my mood (sometimes Steel Green, Steel Blue, A little Plus Green, Maybe a Little pale yelllow-- kinda depends on what we're doing. I'd recommend Jo-Lekos with a 50 degree lens as then you get a real nice shaft of light and a lot of throw. You can always scrim/net as needed for the moonlight-- but it really depends on how bright your interior is going to be -v- the moonlight shafts. But even a stock Joker 800 with a bug-eye lens on it would be better (and brighter) than a comparable tungsten unit-- even ungelled, as HMI is more light per watt.

You're shooting yourself in the food using tungsten for this. Mostly as it's inefficient (compared to HMI and LED) and if you wanted to make it blue, going full CTO is a 2 stop penalty-- so your 1Ks are now effectively a 250W fresnel once you full CTO them. You'd be much better served fighting to get some Jo-Leko 800s with a 50 degree lens.

You could get Quasar Crossfaded in a Kino housing-- or the new Kino LED tubes in the same housing. That seems to be the way those things are going these days. The nice thing about the Quasars (not sure on the Kino LEDs) is you can easily pop out a tube if you'd like/need to place elsewhere and they are "tunable." you could also go cheaper with just the 3200/5600 switch Quasars.

Many of the panel LEDs (skypanel and Kino Selects and I"m sure others I'm unaware of) have a "TV" preset put in. Else you can get a Magic Gadgets flicker box and use tungsten heads which also has some TV settings. Or just go super low budget and use a hand dimmer on a gelled and softened tungsten head and have it pulsate a bit. With the off-screen sound of the TV any of those should "sell" the effect.

I've personally been a Warm Black Pro Mist fan for awhile; especially when I still had my own set, though I let those go awhile ago. Also I'm big on classic softs. I think they next thing to get into will be looking into those tiffen net filters (i think they were tiffen). I'm also a big fan of a Tobacco #2-- though sometimes I also hate it. I think in the end, NDs and Polas are the most used, as they're technical filters, and then from there as David Mentions it depends on what the show wants and needs for the look you figure out. One other technical filter I still keep using is an FLB as I still prefer correcting in camera -v- in post, but that's just me.

I"ll probably pick one up eventually; as that's the way the winds are blowing. Was looking at a Gh5 originally, for the 10bit, but I feel the BM is a better choice on the whole. But not going to do ANYTHING until I see some kind of test footage from the camera (even though I've seen it at trade shows, I find waiting a bit is a better call). Probably all in I'm looking at around 10K for a pacakge that's usable for my needs as they are; but we'll see once it's here and all the add ons come out