Christian Janss

I was just at Abel Cine today and they said that they've requested a LUT from Sony but the company refuses to release one. Abel is working on one of their own currently.

http://cgi.ebay.com/120mm-f2-8-lens-in-ARR...#ht_9059wt_1282 All they say is "Arri PL" type mount. And that it's a 2.8

Does there exist such a thing as an edison plug (male end) adaptor for use on a commercial outlet (female end)? By "commercial" I mean the kind of outlet that like a big landromat dryer might plug into or some kind of big equipment. Thanks! Christian

Does there exist an adaptor for what I'm guessing is a commerical outlet (the kind you'd find for a heavy duty washer/dryer or piece of equipment) to an edison plug? Or is that impossible and/or dangerous? thanks C.

Cool! gracias.

Hi I think my variable speed motor is concking out. It's controlled by this weird box that attaches by a cord, retrofitted by a place called STS I believe. I've called around the Birs & Sawyer, Allan Gordon, and Arri LA but they don't work on these cameras. Does any one know a place/guy in LA or So Cal that works on these cameras? It could also use a little clean up too. If not I'll have to send it to NYC. thanks! Christian Janss

Much obliged for all the advice/suggestions/information. I'd forgot about taking one tube out of the kino, that is very handy. Turns out we're getting the funds for renting one after all, so that's the best of both worlds. I'll have to look for the fast falloff vs. gradual falloff as mentioned. I understand what that means, but seeing it side by side would be helpful. thanks again- CJ

Everybody loves kinos because they are easy to use soft lights that you can put very close and don't get hot. But doesn't the same thing go for china balls (except maybe the heat thing), and for a fraction of the cost? So, I guess my question is what will I be giving up if I forego renting a kino and just rely on my plain old china ball for soft, somewhat directional light & fill?

Thanks for the info. Much appreciated. The shoot was harrowing but ultimately successful. Now that I've seen what those things can do with my own eyes, I'm in love with Maxibrutes.

I've got a night exterior in the forrest with super 16 500T. Of course, the bulk of the action takes place under medium tree cover. But there is a place slightly up hill, and maybe 60 feet away, that is clear enough for a 9-light Maxibrute and a diffusion frame or bounce. I've read up on the maxibrute postings and the night exterior postings, but what I'm wondering is how much does either bouncing or shining thru grid cloth cut down on the exposure level of the maxibrute? Or should I scrap the maxi because of the trees and just use 5ks and 2ks as like rays of moonlight hidden in and behind trees? Sorry if this question is too broad, I guess I just have to make the call. thx

Sorry if this has been addressed already, but I searched and couldn't find it. I'm wondering if anyone out there has tried to match footage shot on a DVX with and without a 35 lens adaptor (whichever one)? I'm planning on using an adaptor on a feature, but I'm afraid the loss of light will be tough for a night scene. There's only one night scene so I was thinking of shooting all the night stuff with a stock lens and all other stuff (Day ext. & all int) with the adaptor. So, will it be too noticible a difference if we segregate all the stock shots into their own scene and only cut between the adaptor once or twice? Can these two be cut together at all? It'll be in Standard Def so that might help. I do plan to do some tests, but any opinions and advice now will be much appreciated. thanks in advance. CCJ

X-files!

Can some one give me some examples of cinematographers (and good examples of their work) who WERE from the classic Hollywood studio era? The kind of "lit" look that all the new cinematographers were rebelling against in the late 60s/70s. I seem to know only the Roizmans/Kovacs/Willises who were active in the realism or American new wave or whatever you want to call it. I can only think of Gregg Toland off hand as an example, but that's too obvious.

I own an Arri SB and I've shot lots of film on it and I love it. But, often if I'm shooting regular color film (i.e. Vision 2 500T or 200T or even 50D) I can't shake the feeling that the footage looks like it was shot in the 1970s. It's not the grain really, because I notice it with high and low speed stock, it's something about the saturation of it, or maybe the softness of the image... I know I'm being vague, but the impression I get is a vague one, but definitely there. One issue I'm considering is that I'm shooting all this thru an Anginuex 12 - 120mm zoom which came standard (I believe) with the camera way back when. So, my question is this: if I got a newer, sharper lens would that make my stuff look less 70s-ish? If so, what type would people recommend? Or is it the plain fact that 16mm is 16mm and I'm thinking it looks "70s" because soooo much 16 was shot then and my mind has just made 16mm synonymous with 1970s footage? anyway, thanks in advance.

So if this impending writers' strike brings the industry to a grinding hault (as some have predicted) there's bound to be a lot of DPs with some time on their hands... Anybody know any good bars where out-of-work / between-jobs Cinematographers like to hang out in LA? I figure we can all commiserate and buy each other rounds. C.