Demetrius Carroll

I?m shooting Arri Sr 3, Super 16, 250 D. I want to film an ECU on my actor?s eyes, and reflect a doll in them. Any ideas on how to pull that off as far as lenses, etc? I imagine I?ll have to light the doll considerably to make it reflective. Any help would be much appreciated.

Awesome, thanks for the tip

Is anyone aware of an online source for depth of field tables?

Awesome, thanks so much for your help.

Will these bulbs work in standard 4 foot ballasts, or do I need to have kino ballasts?

I'm shooting in a basement and will have to replace about 10 individual fluorescent bulbs in overhead fictures with either tungsten or daylight balanced kino flos, depending on the stock we shoot (16mm 250D or 500T). My questions are 1. Are the Kf29's (tungsten) or the KF55's (daylight) the proper bulbs to use? 2. If I were to use an FLD filter instead, what amount of +green gel would I use on my other (non-fluorescent) lights to match either temperature of film stock. 3. Which is the prefered method? As always, thank you for your help.

David, thank you very much! This really helps me out. Furthermore it makes the reasoning behind slightly overexposing the negative crystal clear. I appreciate it.

Thank you guys for your help. I think what I really want some clarification on is if it?s a true statement that DP?s are at times shooting low speed filmstock and willfully unexposing portions of the frame to achieve a deep black. And if they do so, how are they managing to control grain in the area of the frame between properly exposed and totally unexposed since it is my understanding that grain ?lives? in the underexposed areas. Let?s say I have a subject sitting in a chair and get an f2.8 on my subject, an f1.3 on the chair, and E on the background wall and I?m shooting 100T for example.

Let?s say I want to achieve a deep rich black and I?m lighting for a close up. I want little grain, and considerable fall off. There seem to be two schools of thought. 1. Use a low speed film and the parts of the frame that aren?t even exposed will go absolute black. 2. Use a fast film and achieve a ?true black? by virtue of a diminishing gray scale. My question is: what are the benefits/hindrances of either approach? In my case, I?m at a film school where my largest available light is a 2k, and it doesn?t really seem I can?t really use method 2. So should I use method 1 with let?s say 100T, and only expose for the subject, to get total black in the background? Furthermore, when I look at classic noirs, The Big Combo for example, where I don?t believe they had anything but 200 ASA at the most, should I proceed with the notion that they too were simply not exposing portions of their frame to achieve true black. And if I use method 1 what happens to the edge of the frame between properly exposed and underexposed? Is there a grainy ring around everything? And what if I?m using Super 16? If I can get more precise with this question, please let me know.