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jon lawrence

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  1. Thanks so much for your help. Any idea where I could rent one in London?
  2. Excuse my ignorance but could you give me some details regarding SDI- have no idea what it is. How much £ are we talking with the converters? Thanks, Jon
  3. It was for shooting a live feed of a band playing in a studio. The computers are upstairs above the studio. Is there and way of linking a camera to a computer over this distance? Thanks.
  4. Hi, does anyone know where I may find a 4 pin to 6 pin firewire cable roughly 50 meters long? I've been through google a few times but can't seem to come up with any that length. Any help would be much appreciated. Thanks, Jon
  5. Oops. I am well out of the loop. Ignore me -Jon
  6. I feel a may be a little out of line posting this but I was curious to what people think: http://www.aolcdn.com/tmz_audio/020209_christianbale.mp3 As an aspiring cinematographer am I to expect that this is the way actors behave on set?? I don't want it to look like I'm contributing to internet rumour or idle gossip- I'm not even sure if it's real but it's pretty shocking if it is. -Jon
  7. With tungsten film, unbalanced flourescents give off a greenish tint (that's assuming the lights in the corridor are flourescents) so you wouldn't need to do anything with them. I don't think you have to worry about the lights being too overpowering, even shooting 500 speed film I doubt they'd give off enough light for a decent exposure. Do you have the option to turn them off? If so you could always use tungsten balanced kino flo tubes and add a colour correcting gel like plus green to them if you wanted a greenish tint. If you're on a tightbudget (which I'm guessing you are) the best think to do would be to take some stills using a didgital camera where you can manually set the iso, white balanced, etc to get a feel for the space and light, then start adding your own lights until you're happy with the look.
  8. It's probably better if you provide us with some sort of reference material or insight to the story so we can be of more help. What is going to happen in the shot? Is it a tracking shot following someone down the corridor? If that's the case then you could light a few of the rooms to create pools of light every few meters and leave the tube lights as they are. I'm guessing they're some kind of flourescents which might add a grenish tint to the shadows which I always thought looked quite nice. -Jon
  9. Thanks so much for the reply- answered my question fully :) -Jon
  10. What is the corridor's lenght between the two rooms? If it's a short distance then you may not need to add any light at all. The actor would be lit in the first room and they could be in sillouette as they walk to the second room. If the ceiling is high then you could probably get away with placing a few lights hanging from the ceiling such as photoflood bulbs depending on how well you want the corridor to be lit. Are you white balancing the camera for daylight and then adding ctb gels to your lights for the room that is supposed to be night? As this will influence your choice of light for the corridor (if any). What kind of lights are you using for each room?
  11. I read that in Buffalo 66 Lance Acord overexposed skin tones 2/3 of a stop and was curious to how this would be done. Would it be that rather than taking a incident reading of the face, you would take a reflected reading and then adjust exposure acordingly? How would this effect the exposure for the rest of the shot? Any help would be much appreciated. -Jon
  12. I have an older brother who was constantly recording movies off tv and borrowing them from friends, must've seen Alien, Terminator and Halloween when I was about 7. Took a film studies course at college. For some reason fell in love with the movies Buffalo 66, Lost in Translation, Being John Malchovich- I still find it difficult to articulate why I love them so much, they just seemed to speak to me. Did a little research and found that they were all shot by Lance Acord. My film teacher (who is possible the most wonderful guy I've ever met) lent me a super8 camera- I've wanted to be a cinematographer ever since.
  13. I just brought a nizo 801macro and have noticed then when I look through the viewfinder and pull the trigger there is no movement from the light meter when set on auto exposure. There is still no movement when I switch over to manual exposure and move the nob. In fact I can't see a needle move at all except for when I test the batteries for the camera (not the meter batteries). Has this happened to anyone before? I figure it must be the meter batteries but thought that I should be able to control it manualy. Anyone know what's up? Any help would be much appreciated. -Jon
  14. Anyone know where I can get 3200k balanced photofloods under 500w in the UK? Thanks in advance. -Jon
  15. That would be 293.860 USD. Give me a message if you're interested. -Jon
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