Michael Dean Gibbs

I will be shooting my first music video and I have a few questions that I need answered before I get started. I will be shooting on the HVX-200 with the mini 35 adaptor. Since the director will be exhibiting this using many mediums (dvd, youtube, etc.), is it worth shooting in HD? Does it matter whether I shoot 720/24p(N) or 1080i/p? Finally, what is the protocol for syncing up sound (artists singing) with image? I'm in new territory and could really use all of your expertise! All the best, Michael Dean Gibbs

Thanks for the replies gentlemen! I figured it was a scam...I'm just sad for those that had to learn the hard-way. All the best, mdg

I'm looking to purchase an HVX200 in the near future, so I've been researching prices online and came across this website. The company is out of Brooklyn. Has anyone heard of this company or purchased anything from this company before? The price is tempting...but seems to good to be true. Any help would be appreciated. Michael http://www.bestpricecameras.com/prodetails...x?prodid=308260

Looking at them, the switch lines definitely are much more useful now. :) About how long do you prescribe making this switch-line Jonathan? mdg

Thanks for clairifying that for me Chris! :rolleyes:

" Just attach a male and female AC ends to the switch and you can use it anywhere down the powers path." What exactly do you mean by this Chayse...I'm having trouble picturing this. Thanks, mdg

Thanks for the insights gentlemen! It sounds like the best way for me to compare and contrast different stocks, then, would be to compare prints and not digital transfers...is this correct? And is this because so much of the information will have been lost through the analog-digital transfer? Obsiously, I'm still very much in the learning process. The best way for me to learn how different stocks vary, would be to shoot, shoot, shoot. But, unfortunately, I don't have any projects presently to work on...so as I look for work I'm trying to fill my time with useful exercises, so that I can become better informed. mdg

Thank you for the response David. What I would like to do in the next couple of months is to create data bank of still images. I would like to be able to go to my computer and click on the file that says 52/7218 or 52/7229 and be able to compare and contrast '18 stock overexposed 1-stop to '29 stock overexposed 1-stop. If this were a project that you were to take on...what would be the process by which you would go through in post? Negative - telecine - computer - grab? Negative - print - telecine - grab? Or another way that I am unfamiliar with? I really appreciate what you do for people like me! mdg

Good Afternoon, There are a few questions that I have, that I have been unable to get my mind around. First, when a DP says that he rates, say 52/7218 500T film at a 320asa, does this mean that contrary to Kodak's specifications, the DP finds "normal" exposure to be 2/3 over? Or is this shorthand meaning that the DP will overexpose by 2/3 of a stop but plans on pulling an equal amount? Secondly, I am in the process of running exposure tests on some different stocks to better familiarize myself with their uniqeness. I will make two prints...a "one-light" to inform me about latitude and a "timed" print. My question is...what is it that the DP is trying to discover with this "timed" print? Thanks for your time, mdg

Thank you for the help gentleman! David, if I still have your attention, I have another question for you that I could use your expertise on. My lead actress is wandering through a collectibles shop looking for the perfect gift for her idol (Kate Hepburn). As the camera pans with her movement, she sees a "glimmer" of light from the collectible that will eventually become the gift she gives Kate. How could I realistically create this "glimmer" of light. I thought about strategically placing a light such that, as the camera pans/dollys (her POV), at some point the camera will reach the exact angle and a flare will be created, hence the "glimmer". If you or anyone else has any imput, it would be much appreciated!! mdg

Greetings, I will be shooting an exterior sequence of three shots, at three different locations, at three slightly varied times of the day. The first shot is of the actor exiting a train station as she enters a taxi. The second is of the actor as she communicates with the driver. And the third is of her exiting the cab, walking to her destination. I realize that in real time we are talking about 15 minutes max. However, I would like to create the feeling as though, from the first shot to the third shot, the late afternoon is moving quickly towards evening. Lets assume that I won't be able to actually wait for these exact times of the day to shoot. I am wondering if there is a technique anyone could bequeath me regarding this. Is it simply a matter of under/overexposing the image as needed? I eagerly await your replies! mdg

Nick, I have been looking at a 20"or 30" Chimera lantern as well...could you tell me some of the advantages and disadvantages of the Chimera vs. the Rifa-lite as it relates to lighting situations you've experienced? Thanks, mdg

Thank your for the imput gentleman. Thank your for the input gentleman.

Greetings, I am thinking about purchasing a lighting kit and could use some advice. If you were confined to a $2000 budget, which kit would you buy? Would you go for Fresnel or open-faced lights (or a combination of both)...120v or 220v lights...(3) 1000w lights or a combo of wattages? I could really use some help from others with more experience than I. :) Thanks, mdg