jon lawrence

Thanks so much for your help. Any idea where I could rent one in London?

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

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.

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

Oops. I am well out of the loop. Ignore me -Jon

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

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.

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

Thanks so much for the reply- answered my question fully :) -Jon

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?

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

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.

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

Anyone know where I can get 3200k balanced photofloods under 500w in the UK? Thanks in advance. -Jon

That would be 293.860 USD. Give me a message if you're interested. -Jon

Anyone know where I can find a nizo 801 manual online? I've searched this forum and google and I can't find it anywhere. Any help would be much appreciated.

I've got a project coming up where I will be shooting on 16mm with kodak 7222 (b&w 200asa). One of the shots is of an old man sat on the end of a bed with a window to his right which will act as the main source for the shot. I originally wanted to use a 2.5 hmi through the window with some foam core to bounce some light back onto the subject however I have been told that I can not use hmi's. I do have access to a few blondes and was wondering if I could get close to matching the effect of the hmi with out it looking too messy. I was planning on putting some diffusion on the window to spread the light a little and making sure the lights are a good enough distance from the window so that I use them to the best of their ability (the window isn't particularly big). I wasn't planning on gelling the lights as it's a black and white and I'd figured with the diffusion I would be loosing enough strenght as it is. Does this set up sound like it would work? I'm going to do a few test rolls but just wanted to get a little insight before I got started. Here's a link to a picture which I'm using as a refence: http://farm1.static.flickr.com/20/72690161_cff240fbf8.jpg Any help would be much appreciated.

I'm currently selling a canon 1014xls: http://www.cinematography.com/forum2004/in...showtopic=35434 let me know if you're interested Cheers, Jon

I'm downsizing my camera collection to make a bit of money for a project that I have coming up- Canon 1014xls- tested fully working/ good cosmetic condition, with mic, filters manual -£200 Canon 514AF- good cosmetic condition, seems to run smoothly although have not tested with film, comes with case+manual - £50 (willing to refund if it doesn't work) Canon Zoom 518- again, have not tested but seems to work fine - £30 I can provide pictures. Feel free to make me an offer. If no one shows any interest in the next few days I'll put them up on ebay- just thought I'd give you guys a head start. I'm also going to be selling a k3 16mm camera so if anyone is considering making the leap to 16mm then let me know. Cheers, Jon

Because I'm not going to be in a position to use continuous lighting. As I said, I'm going to be using it the way you would use a stills camera- I'm just going to wandering round and take pictures of places, people etc and want to be able to pull my camera out of my bag and shoot. -Jon

I'm currently working on a project where I'm essentially using my super8 camera as a stills camera. I want to use a flash with my camera to shoot/take stills of people at night but have no experience with this. I was wondering if anyone could shed any light with using a flash and could maybe recommend a decent one to use. The camera I'm using is a canon 814 electronic. Any help would be much appreciated -Jon

I've just got back a roll of kodachrome 40 that expired in 2003 and a roll of kodachrome slide film that expired in 2002 from dwaynes and both films were absolutely perfect. I brought both films from ebay, both were stored at room temperature and they obviously survived being shipped from the UK to the US and then back again so I think there's a good chance your film will turn out ok. -Jon

I'm trying to build a couple of chinese lanterns (with a budget of about £10) for a project I have coming up but I can't seem to find any paper lanterns that can be used with any bulb over 100w (the bulbs I'm using are 250w and 500w). Is there anyway of somehow fire proofing the lanterns?? Alternately, does anyone know where I could find any low wattage tungsten balanced photofloods? Any help would be much appreciated. -Jon

Hi all, I'm not to savvy with digital cameras. I'm looking to buy a reasonably priced digital slr that allows me to control whit balance, iso, etc so I can take stills to test lighting setups. Any help would be much appreciated.

A friend of mine asked me if I would help him shoot a music video and showed me this video as a reference: I was to how they lit the scene towards the end (about 2:00) with band playing. It looks to me like some unbalance fluorescents from above and in front as well as some fairly lights. I know it's not the best of quality but if anyone could help me out it would me much appreciated. -Jon