Jeff Webster

Really impressed, Kevin. Looks great. I've always had a liking for high speed, I mean who doesn't right? haha. My question is how you lit those water droplets so well? In that how did you have it so dark but when the droplet hits it glows? Looked great. I'd like to be there to see some of that go down. Ever need help with anything, I'm a film student near LA so I'm really looking for things to go after. Great job! -Jeff

Sounds like a legit film man. I'm excited to see what comes of it. Good luck!

Oh and Andre, classroom scene was shot at a college in La Mirada. The only problem I had with it was that the walls were green which made everything come out kind of sickly and pale. Anyone got any ideas on how to fix that greenish sickly feel that walls provide?

There has actually been no color correction done to these captures. This is just the raw. I'll post the color corrected stuff soon. The ASA was around 200 so having those super speed lenses made it really nice to work with. I'd highly recommend getting those lenses when working with an HVX and a 35mm adapter.

About a month ago I shot a short film about an insurance agent who wants to kill himself to get sister money for college but everytime he tries he comes up short. We shot on an HVX-200 with a P+S Technik 35mm adapter. We had Zeiss T1.3 lenses from 18-85mm. I found it to be a real pain when shooting scenes that were a bit darker but overall it gave me just the look I was going for. Our lighting package consisted of Kino 4-banks, a few 4K & 2.5K HMI's, 2K's, 1K Open-faced Moles, numerous smaller Arri lights, and two chimera lightbanks. We won;t be done editing it for a while now but here are some grabs from our footy. Let me know what y'all think! Critiques welcomed. I'm still learning so any professional tips would be much appreciated!

Also there is a gamma selection in the HVX called 'SD' and this matches the exact gamma of the DVX.

I'm guessing you're not doing this for facial CU's. Get a little hot maybe?

I am shooting a short coming up and have decided on most of the shots, but am having a little difficulty figuring out the exact shots for the office scene. There are three people, a man and a woman on one side of the desk leaning on it, and the boss sitting in his chair on the other side. My question is, what would be the OTS and clean single shots I would get to maintain the viewer's mental map? I feel like if I shoot from over the boss' shoulder, getting both clean singles of the man and the woman, they will both be looking in the same direction. Also, would it be weird if I shot an OTS over the man's left shoulder, and then another OTS over the girl's left shoulder? I'm just having trouble deciding. Thanks to anyone who as any ideas. However small your advice may be, it'll be useful to me. Thanks -Jeff

Wooden Nickel has some great stuff, we used it on the last short I was on. But I have another question: I hear the Hazemaker machine is good for adding a nice overall mist to the scene to reallly accentuate the shafts of light. First, I am wondering if this would be useful for a scene where a man is trying to commit suicide by having his car on in the garage. Realistic fumes with this machine? Second, where is this machine available for rent? Thanks, Jeff

Coming up here I am doing a student film and we will be shooting in an office with fluorescents. I have three options: 1. Gel the inside of the lightpanels with minus-green. 2. Replace office fluorescents with kino tubes. 3. Rig a lightstand with knuckle and arm with kino 4' 4-bank above actor and just gel other lights. Which is most common and/or the best solution for a low-budget student film? Thanks. Jeff

DVCPRO50 has the same color sampling as DVCPRO HD (4:2:2). At first I thought it would have been amazing if this information could have been stored onto a DV tape. But I soon found out only DV to the tape. DVCPRO, DVCPRO50, and DVCPRO HD to P2 cards. One of the reasons one would then use any setting other than DVCPRO HD would be to conserve space on the cards.

When shooting 720/24p the camera always records 60 frames not 30. Unless you are in the PN mode which it only stores recorded frames.

When shooting 720/24p the camera always records 60 frames not 30. Unless you are in the PN mode which it only stores recorded frames.

For regular office fluorescent fixtures, how easy/hard is it to replace them with kino tubes? I know I could buy some from different stores that are the correct color temp but I'm wondering if regular 4' kino tubes would work to replace the office ones.

So if you were to use, say an 8x8 frame, how would you mount that or would use just use premade silks instead of 216 or 250?