Markus Kloiber

Just came across the "30 days of Night" article in AC November 07... quote Jo Willems:"I exposed the snow Two stops under and rated the film (5217) at 800 ASA, or otherwise everything looked like daylight" please correct me, if i'm wrong but in this case the 2 stops underexposure (not the ones from the Higher ASA rating) are INCIDENT Readings, right? If "two stops under" would represent spot meter readings, the snow would come out as Zone I (Ansel Adams Wise) (which would not look like snow at all) (Zone III @ 800ASA - 2 Stops), so i guess it's INCIDENT (also because he says it in one sentence with the higher ASA rating) Then :"(...)when Marlow first appears, his skin tone is 4 stops under key(...)" that one seems to be a spot reading- usually, when i'm reading stuff like that, i'm used to spot meter readings...like in datasheets. THX!

THE T-stop will be a higher Number cause Light is Lost inside The Lens. Imagine putting a Lightmeter behind a Lens. The Stop it would indicate with the lens set at a specific F-stop, would be the T-Stop, light that would hit the film plane. Whatsoever, the difference is only "big" where lot's of glass is needed...e.g. big zoom or telephotolenses Lens manufacturers have their depth of field charts calculated with the lens specific T-stops, since the diameter opening for T2.0 will be slightly wider than for F2.0 hope this helps.

f/Stops are used for Depth of Field Calculations. T/Stops are used for exposure calculations.

Arri Germany has a Photometric calculator on the website. you can use this as a point to start with. also, for Par 64 related fixtures go to http://www.ultralightmfgco.com/ set up your lamps and take your readings from different distances. a friend of mine did that with every lamp available at a rental house. Well,this reality and the website is just the IDEAL LAMP. the ASC manual lists the footcandles you need to get an exposure of let's say, T4. when i look it up, it would say: ASA 100/24fps: 200 footcandles --->T4

In ASC Jan.2007 i came across Guillermo Navarro's approach on "how to keep things dark" on Pan's Labyrinth. quote: "Many times,the way to keep things dark is NOT NECESSARILY having very low levels of light. Today's film stocks are very sensitive,so they can actually see quite a bit more in the dark areas than you would imagine.To keep things dark,you actually have to have highlights at a stop where the film doesn't have an opportunity to reach in-something where you might think you're at a T1.4 but are actually at a T3.5. (...)" i'm not quite sure what he means. is he letting the highlights burn to get that contrasty look, the film is all about? that's the only explaination i could give on "have highlights at a stop where the film doesn't have an opportunity to reach in&but are actually at T3.5". I have no idea which aperture he was shooting at, so no real reference to his mentioned Tstops.

Try this. i Used this on a commercial: toplight: 4 5K(desisti) softlights through 20x20 with Full Grid full frontal light next to camera (left): 5K with a large daylight chimera ...and a Wall-O-Lite on camera light...(basically just a glimpse) approx. 8 meters behind and slightly off from the full frontal 5K- a 20K through a 20x20 frame with Lightgrid... all in all a F 5.6 on the same stock you're using. to accentuate the shoulders you would have to use something stronger than the dedos, of course. good luck cheers, Markus

Kino Flo has several new products: although they showed some of the stuff at cinec in 2004. Para Beam 400/200DMX (4x55W/2x55W) Para Zip (4x55W/2x55W) VistaBeam 600/300 (6x96W/3x96W) greetings from Vienna, Markus

That was Ron Garcia, saying to Lynch on Twin Peaks, right...?! after all he had a 1.2K Par bounced off into the pine trees...