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

Rather than actually wire the switchbox in line, wire a plug (male edison) coming out of one side of the box and an outlet (female edison) coming out of the other side.

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

 

Underrating a stock is easy, 2/3 stop is usually sufficient. Set your light meter to 320 ASA, and at the head of the roll shoot a gray card properly exposed at 320 ASA. The image will naturally be overexposed on the negative, but the gray card provides a reference for the color timer or telecine colorist to set up a proper brightness on the transfer or print.

 

 

Greetings Michael,

 

Did you really mean to say..."Set the light meter to 320 ASA, and at the head of the roll shoot a grey scale properly exposed at 320 ASA"...or did you mean to set the light meter at 500 ASA for 500T, 7218, and shoot the grey card?

 

Isn't the disparity between the properly exposed grey scale at 500T and the overexposed footage what tells the colorist that you purposely underexposed the image.

 

I ask this out of curiosity as I am learning

 

Thanks,

 

mdg

 

 

 

 

Underrating a stock is easy, 2/3 stop is usually sufficient. Set your light meter to 320 ASA, and at the head of the roll shoot a gray card properly exposed at 320 ASA. The image will naturally be overexposed on the negative, but the gray card provides a reference for the color timer or telecine colorist to set up a proper brightness on the transfer or print.

 

 

Greetings Michael,

 

Did you really mean to say..."Set the light meter to 320 ASA, and at the head of the roll shoot a grey scale properly exposed at 320 ASA"...or did you mean to set the light meter at 500 ASA for 500T, 7218, and shoot the grey card?

 

Isn't the disparity between the properly exposed grey scale at 500T and the overexposed footage what tells the colorist that you purposely underexposed the image.

 

I ask this out of curiosity as I am learning

 

Thanks,

 

mdg

Greetings,

The director I'm working with is thinking about cross-processing (reversal) a pivotal scene to accentuate its importance.

However, we will be using 7217 and 7218 for the remainder of the film and I'm afraid the cross-processed reversal film will conspicuously draw attention to itself.

Can anyone suggest an alternative 16mm, color negative film that may create subtle effects "similar" to the reversal?

Thank you,

mdg

Yes, John, we will be creating the rain...unless mother nature cooperates...as Chad had suggested. A friend of mine will be constructing a PVC "rainmaker".

As for dealing with a potentially sunny day, we may have to move from a LS to a MS and try and recreate as much even lighting as possible...probably using lots of bounce (no-budget restrictions), a Grad filter, and a conveniently placed camera.

Thank you gentleman for your sound advice.

mdg

Greetings,

I have a few questions that I need help in understanding.

I will be shooting a short, 16mm film at the end of the month and one of the scenes calls for rain for an exterior shot with an actor. I have been told that the rain drops need to be of a certain size or lit from a particular angle to best capture the image. Is this true or a fallacy?

Second, if this particular day happens to be sunny and I want to create an overcast, rainy day is it as "simple" as dropping in a grad. filter? And what should I do about the shadows on the actors face?

I would be very pleased with any advice you all could provide me.

Thanks,

mdg

I was watching "Casino" last night and came away with a few questions...

There have been wonderful discussions in this forum on the lighting techniques of Robert Richardson's, and I, like many of you am a huge fan.

In "Casino" he combines xenon lighting and his signature harsh top-light effect in the same shot (eg. wide angle shots inside a dingy bar).

Why is it that xenon rays show up on film as a ray of light and his harsh overhead lighting (4-6 stops overexposed) doesn't? Is it simple a matter of strength...wattage? If so, is there a rule of thumb as to what will show up and what won't?

Thanks for your help!