Peter Egan

Hi. I?m shooting a short noir piece on HVX200 and I have at my disposal to borrow any of the following lighting kit: 3 x ARRI 800W Redheads 3 x ARRI 300W Redheads 3 x ARRI 600W Fresnel Kinoflo Diva 400 Dedo light set It?s all happening in a small flat and will be black and white fairly low-key style. I?m assuming the above is too much for the job, what would you take with you and the reasons behind it? Thanks a lot.

Hi there, My first foray into these parts of the forum. I feel like an alien, as I've purposefully limited myself to film, in particular 16mm for my ARRI S. So there's a new short I am planning - I'm doing it in HD that's for sure, it's right for the story I think. After a few peeks in this forum I've loosely settled on Sony F900 or F950 (haven?t gotten to knowing the difference yet), and I guess the first question I impatiently want to ask before I start bombarding these forums with more is: what is the daily or weekly or any kind of price for this camera? Oh, and I'm in London, BTW, so Londoners, please help. Happy New Year and all, with a short delay, Peter

Good film. Does anyone have any technical details?

Thanks for the replies, guys. After not having my emails answered by Sekonic UK (strangely, they don't have a telephone number), I ended up calling Japan and getting the name of the official distributor and service provider for the UK. This is their website, in case anyone needs it: www.johnsons-photopia.co.uk That was very kind of you, Laurent, I really appreciated it. Thanks.

Perhaps I'll ask for a diagnosis here... basically, the needle on the L-398 wasn't pointing at zero anymore, so I followed the manual in reseting it by turning the screw at the back; however, the screw didn't have any impact on the needle whatsoever, it just kind of went loose and it still is... Anyone has a similar problem? What can be done and where? Thanks.

Hi, Does anyone know a place in London where the Sekonic Studio Deluxe L-398 meter can be checked up and repaired? Thanks, P.

Hi, I'll be shooting a very theatrical short film soon; it's just a guy sitting on table going through a monologue, with everything around him in total darkness (very cinematic, I know :P ). Is it worth shooting something like this on 16mm film? I mean, all the reasons why one would want to shoot 16mm do not apply to this film. Since there is no visible background, since it's so visually simple, it seems to me that there is no need for worrying about filmic depth of field, latitude, and such things. Would Super 8 do an adequate job here? Perhaps miniDV or HDV? Cheers, P.

:lol: :lol: :lol:

Hi, Not to open a new topic, I'll ask here: anyone know any labs in London that do a telecine to hard drive? Is the price astronomical? Cheers, P.

This film is the ultimate exercise in manipulation disguised as a European arthouse film... but what an exercise it is! It's a complete mind-f***, it held me under its influence for days. I have to admit, I saw it in cinema and it came as a complete shock that it was shot on HD :o I guess my eye has a lot of training to do.

Thanks guys, very informative. I remember an interview snippet with David Fincher saying how, basically, Anamorphic is pointless and no good, and it got me thinking there is probably like a clan division of pro and against Anamorphic shooters, but what I'd like to know is what are the reasons for being pro or against? Is it just those artifects David mentioned or is it also something else? Ease of use, cost maybe? Also, can sombody give me a list of several classic films shot on Anamorphic? I've got All the President's Men here with me, is that Anamorphic? Parallax View? Some European examples would be nice also. Cheers, P.

What are the tell-tale signs of a film being shot in Anamorphic?

Oh, sorry, I was unclear, my comment was about "The Cranes are Flying". And further to my thoughts, I've been reading a little about the director and he seems to have been very fond of Hollywood cinema (lived in America also) so there is a definite influence there, if not the typical "we can do better" thinking that was prevailent at the time. I'll be seeing Red Tent soon, hopefully.

Canon. You can see it on the making of doc on the DVD.

Saw it on a crappy VHS last night... Well, subtle it certainly ain't. It's the kind of film I admire more then like, I guess. I have to admit, I was expecting something more "Russian", but instead I detected a certain "let's outdo Hollywood" thinking behind the direction. Could be wrong..