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kpv rajkumar

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Everything posted by kpv rajkumar

  1. hi, chayse ! i just joined the party late. but please tell me whether the nook lights are daylight or tungsten ? and another friend in this thread says that he uses a blonde. are'nt blondes 2k open faced tungsten they are called 'multi' in chennai, south india ? much friendship, rajkumar
  2. hi, dave, let me chip in too and keep the fire going ! mired = micro reciprocal degree. also, '.... equal changes in color temperature are not necessarily percieved as equal changes in color. a change of 50k from 2000k to 2050k will be a noticeable difference in color. for an equivalent change in color perception at 5500k, the color temperature would need to shift 150k and about 500k at 10,000k. for this reason the mired system has been devised........' (blaine brown, in his book 'motion picture & video lighting' )
  3. hi, the stuff looks real good and kinda inexpensive. are these cool lights available in india ? actually, part of my minidv docu work involves interviews and i get the same effect (more or less ) by festooning 4x 400 watt chinese-made flouroscent globes in chinaballs that wraps around the subject from seperate light weight aluminium stands. :) rk
  4. loved your third pic, wal . the 2k kick from frame left makes a good wine light already(reminds me of grover washington jr's wine light album ! ) even without the red flame slashing through-which looks too 'sloshed' though ! :P rajkumar
  5. hey, i like 'lighting-cameraman' ! atleast that's what i put on my showreel-scriptwriter, director & lighting cameraman! talk about identity crisis ! rajkumar
  6. wow, i love bob's stuff too ! his crashing top light stuff (JFK), his hand held/long lens stuff( PLATOON), his grit,grain & bleachy stuff(NBK), his long, wo- wo (walk on, walk off !) steadicam stuff (KILL BILL, love you too, larry !)but most of all i love bob's gandalfian snow white hair ! rajkumar
  7. it sure is a flaw, bob. and looks like it runs in the ag dvx 102 family too ! some six months back i was shooting trucks and i had out-rigged the camera on an elaborate truss system ( a la, bob richardsons' tigerland !) which gave me a menacing 3/4 angle on the left front wheel+cab. i screwed on a w/a conversion lens, engaged the 1/64 nd, set the exposure, put it on auto focus and told the driver to floor it on the circular test track. but what i got was all out of focus, especially the wheel in the fg. later i reshot the whole thing on manual focus mode and it worked fine this time. from what i understood, it looks like the lens on af mode needs a few frames( or, a few seconds) every time to get its act together. but with the truck travelling in circles at high speeds, the optics experiences what i call a condition of 'continuous bewilderment', what with the constant new deals in terms of staging/blocking happening all around it and so loses focus literally! rajkumar
  8. as a lighting cameraman/director doing a lot of running around on the floors + climbing on to greenbeds and permanents, i'm pretty comfortable with a no-frills, (clunky looking, like a '50's DeSoto , though !)'woodlands' construction boots for the past 4 years or so. i even wore a pair during a trans-himalayan trip in ladakh in the middle of last winter ! however, the army guys (with whom i had barracked for about a week) advised me to wear their own standard-issue snow shoes to avoid frostbite! keep on truckin' :) rajkumar
  9. hi ! i have similar questions too ! a) how does shooting on hvx 200 with a miniDV tape ( interlaced mode) compare with shooting in DigiBeta, in terms of resolution lines and a subsequent NLE throughput on avidexpress hd pro? B) what is the benefit that i get if i use only miniDV tapes in a hvx 200 camera ( interlaced mode) compared with shooting miniDV tapes in dvx 102b ( interlacede mode) ? thanks, rajkumar
  10. Thank you for the info, and the sites, Dsheehy.
  11. Hi, Dsheehy ! among the differences, i think the 100 series has a 24 fps Progressive mode, while the 102 series has a 25 fps Progressive mode. Also, their interlaced modes also differ. They are 60i and 50i, respectively.
  12. Brian, was it a Bogen color temp meter ? must be good.
  13. wow, noted for future guidance, chris ! thanks a lot, rk
  14. Is it Rosco's 'FULL CTO' vs Rosco's 'HMI To TUNGSTEN' that you're talking about, AJ? (Because my swatch book does'nt have any actually marked '85'). Both convert Daylight to 3200 K clean. But, while the former transmits 55.4%, the latter does 58.2%.Thank you!
  15. Thanks for the info, Brian. I checked my swatch books too. The mired values of Lee's Full CTO & that of Roscosun's do differ, negligibly though.
  16. Steve,thanks for clarifing that for me. from now on i'll not order, " 85 that HMI!", when it actually should be," "Full CTO that HMI ! ".Sometimes, i do interchange these two nomenclatures on a snap, which is not accurate. thanks again.
  17. hi steve! let me tailgate this beautiful thermal! is it ok if i gel the truant HMI's with 85 instead of Full CTO? if so, then what are the trade offs in terms of stop loss?
  18. love that idea, alex, count me in and let's start with the pacing of larry mcconkey's awesome, jaw dropping, four minute steadicam shot in ballhaus's goodfellas! ok,as a self-teaching , (rather late starting), fly-by-the-seat-of-your-pants, lighting-cameraman who makes a living by also writing & directing his commercials/corporates, this idea is like dear ol' connie coming up in my dreams and blessing me by giving me his own meter !
  19. The opening shot of Barry Lyndon thahk you for reminding me of john alcotts awesome candle lit work on that film! ( i simply love that tracking shot during the battle march!0 i'm also perpetually entranced by dante spinotti's work in heat-especially the shot in which niro chats up brenneman on the terrace -overlooking la's city lights, with goldenthal's touch and go trance taking care of the rest! any one on the same trip ?
  20. ....and Lance Accord's slick, green-cast Tokyo work in Lost in Translation!
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