David Bradley

Arris at 800 watts are fine for indoor shoots balanced at 3200k. Plenty of light but quite a bit of flooding even when the light is rigged to spot. The main problem is spilling but you can't completely coat the light or it will overheat and explode. I like the light from red heads but they're only really good in close proximity to the talent or for filling in dark spots at range. probably try a blonde at 1000-1500 watts if you need to balance for Daylight as I find using a full CTB on a redhead cuts out at least 1/2 a Tstop, after you have properly diffused or reflected the lamps you have practically nothing to work with. Bare in mind that (to my understanding) the relative ASA of Digital is approximately 320 (on a DVW 790 Digi Beta) so calculate accordingly (i'm too lazy to do the math) hope this helps, dont take this to seriously I speak only from my very limited experience but in all my work I have used Arris at 800 watts.

Ah so it is as I feared, I'm sick of DV.... Thanks for the the tips Micheal I'll look into Twixtor and try and figure out how to interpolate the fields. Meantime im going to save up for the next 300 years until I can afford my very own arriflex 435 extreme.

I'm a beginner so please be gentle. Im trying to acheive a convincing slow motion effect with DV. I tried using the time warp function in Avid Xpress Pro but when I slowed it down it looked choppy and smeared. I use a DSR 570WSPL at Uni so I figured I could up the shutter speed to reduce the smear. It looked ok at about 1/250 but still noticeably smeared, anywhere past 1/500 and I got this nasty stroboscopic effect and vertical smearing on the highlights. Anyone have any tips on the best settings for seamless slow motion? kind Regards David

So are you chaps suggesting that I dont bother trying to acheive a progressive frame rate and just de-interlace in Post production. If so what program would be effective in acheiveing the effect. I use Avid Express Pro. Best David

One day I will buy you a beer you brilliant man. Thanks alot, I best get reading. Best David

Hello I am shooting a short film sometime in march. Im shooting DV on Sony DSR 570 WSPL At my university we only have access to a poop load of tungsten red heads (800w) studio balanced. Anyone know of a link to any sites with tips on lighting or perhaps you could provide a few of your own considering ofcourse the limitations of my equipment and a 0 budget. Cheers David

Just wondered if anyone knows anything about the course or if anyone attends who could tell me what they think of the place. I may be attending as a 2nd year student in september. Kind Regards David

I use a DSR 570 WSL. Can I set the camera to 25p and if so how. I will be editing on avid xpress pro. how would shooting in 25p affect the editing process? would this create any issues in synching to sound? Kind Regards David

Hello I would like to acheive a film look on a sony DSR 570 WSP by setting the camera to 25p. First of all could anyone explain what effect this would produce secondly, anyone know how to do this on a DSR 570? Why is there a shutter speed on a digital camera, shouldnt it be a shutter angle i.e. 180? I've been reading all this film literature and I dont have a clue about video. Someone please help!!?

Painting with Light by Alton: Haha funny thats the first book on cinematography I ever read and it definately teaches us alot about blocking for actors but the book is all about pre-technicolour lighting (if i remember rightly) Dont get me wrong its an amazing book but since most of us student cinematographers are shooting DV I would suggest Digital Cinematography by Paul Wheeler. Alton is definately a worthy read though and I remember the lighting diagrams were fantastic although sometimes a little politically incorrect i.e. the chapter on 'lighting coloured people' in which Alton uses the stereotypical 'Mammy' as an example. Different time I suppose. I have read Blain Brown: Cinematography theory and practice Micheal Rabiger: Directing Techniques and esthetics ASC: selected tables and charts Paul Wheeler: Digital cinematography Screencraft: Cinematography but im only a student so i cant comment on the value of these books nor would I dare to, I have found them all usefull as a starting point on a long road. Kind regards David

Lance Accord is truly amazing, watching Lost in Translation is like seeing a classic renaissance painting in motion. Also really liking Wally Pfister. I would say that Jean Chiabaut's work in La Jetee (1962) really sparked my interests in cinematography. It sounds really pretentious I know. I was always a keen photographer at School but I had never imagined juxtaposing stills in a logical montage to create narrative. La Jetee defines visual story telling for me. As I developed a keener interest in the field I would probably say that James Wong Howe really inspires.

Ms Peline. I assume you are a student at the NFTS. May I ask what your back ground relevant to the course was prior to being accepted. I am desperately trying to prepare myself for the MA in cinematography which I hope to attend when I graduate in 08. The competition is stiff to say the least and I understand the board are looking for something special not someone with the most credits but what would you advise I do before attempting to enrol. Kind Regards David Bradley

Sadly the oppurtunities and networking possibilities are better in the states although I would suggest that the NFTS is the best school in the world (may be trying to edge my way in there ;). Ravensbourne: Fantastic school for live television enthusiasts. I free lance at ITN and BSKYB with graduates at Ravensbourne all the time, it is the only school with a work experience program at ITN and BSKYB and many of its graduates end up in TV. Bournemouth Arts Institute The most reputable undergraduate course in the UK for aspiring fictional film makers with 16mm, 35mm, DVCAM and HD facilities with a sever practical emphasis which demands students make tonnes of films! ACE! I wish I went here really I do. As for Leeds and the Royal Holloway, dont be fooled by promises of intense practical workshops, they never happen. They'll give you a DV cam an optical zoom lense and a few RedHeads and send you off without any proper instruction. Remember its all about determination. If you want to learn you will, it helps to have an institution point you in the right direction. I study MPT BA(hons) as Sussex and frankly the course is terrible but I still get work in TV because I force myself to learn regardless. Pick an institution that doesnt only teach on DV. any course that teaches 16mm/35mm even Super 8mm is worth its marbles in the UK. Kind Regards and good luck David Bradley