anthony derose

If I do keep the lens in a bag to reduce condensation. When I move into the warmer INT. should I open the lens case rather than keeping it closed?

Up on a shoot this weekend in Northern CT. Its suppose to be around 25 degrees during the day and in the teens at night. Most of the day of course is EXT. and then we move inside to shoot INT. at night. What is some good advice of keeping condensation minimal? I was thinking of putting the glass in a zip lock bag bringing the case in and let it warm up to room temperature as the lighting is being done. Any other suggestions? Thanks

What exactly is lens shading with higher end ENG cameras and things like the Varicam? When I first heard it I was thinking that it meant setting up a lenser or putting a french flag on the box. Though doing some research I guess it means to figure out aberrations in a lens like a digiprime or something. I really don't know can someone explain. Thanks

Do most people diff their kinos? I have a few times put some 250 up but have found that it can kill my output at times. I usually just like having it not super close and with the egg crate on. Its all taste but it seems 50/50 on the sets I have been. Some people like them softer others sometimes toss the egg crate and use them like that. When is it good to add the diffusion to them? I assume in small locations when even though the light is soft it looks to hot because of the distance.

I just shot a 16mm experimental type of short film. Used stocks 7219 for Interior work and 7205 for Exterior work. The nice thing about the project was I was able to use a lot of different types of stylized lighting techniques. We gave the stock to the lab today for processing and transfer to DVCPRO HD tape. One thing I tried was the shaft of light style that I've seen a lot in old noir films. I created two shafts using 2 1.2k pars with narrow spot lens on them and a little smoke machine. When the main character was walking through the spots of light I let the highlights go 4 stops over. I am a little worried that I went over to much but I wanted that hot effect like this is the only light to be hitting this area and its really bright. I assume that since I was overexposed a lot my shadows will be quite open and I will need to bring the black down again in post. With my spot meter parts of the frame read 2 - 3 stops under so I think with a little tweaking I should be able to get the look I want.

This is work from my junior and thesis year at the School Of Visual Arts. Its 4k, HD, and S16. I realize its way to long I need to bring the running time down 1-1:30. Hopefully I will get some good feedback and have a idea what to trim. Also wish I could shoot more film projects. Out of a class of about 100 thesis film students, 50 of which are directors only 3 shot on film. Its kind of a shame, we had more RED projects this year. Oh well. http://www.anthonyderose.com/reel.html

I've been going over mired shifts in the set lighting handbook to better understand the formula. Going through the CTO and CTB conversions I noticed that Full CTO converts to 2800K and 3/4 CTO is closer to 3200k. I've mainly been in situations where I have had to use full CTB and haven't come across times where I need to gel windows to match practicals or convert HMI's. I just assumed that since full CTB converted 3200-5600 that full CTO did the opposite. Though I guess I was mistaken. On Rosco's site 3/4 is listed as standard conversion from daylight to 3200. When I do come across those situations for a standard 5600-32000 conversion is 3/4 CTO the way to go?

I just got footage back from the lab of a short project I shot on 16mm (7205, 7219). We transferred to DVCPRO 720 1.78 so I don't know if the transfer washed out some things. Basically the problems I found where in exteriors. The film was shot in New York City and we had quite a few days outside with bright sunlight. Scenes where the lead was walking down a backlit new york city street just looks to bright to me. I can retain detail and better shadows once I bring it down in FCP 3 way color, though I still am a little upset with the results. Looking at camera reports I had underexposed 1 1/2 stops under and the background was 2 I believe, with certain parts of the street reflecting the sun 3 or more over (which I didn't mind). I guess next time I should underexpose a little more, like 2 1/2 stops? Worried that my shadows would be a bit to dark, though I'd rather have darker shadows then a hot background.

I am about to shoot my thesis film and have a question about bulb wattage. We are shooting on the RED. The opening scene follows a character walking through a basement. The basement is real grungy and has pipes that run along it. My idea was to hang bare practical bulbs creating patches of light. The issue is I cant have any other sources as the space is very narrow and lights would be seen if I set them up. I was planning on using 250watt bulbs though I am a little concerned this will be too much as they will be bare. I could always place them on a dimmer which is a option. Was wondering if going to 150watt would be a better choice, regardless the bulb is going to blow out and I'm fine with that. I don't want to find myself with a setup of 8 150watt bulbs and being to dark.

Shooting a student thesis with the Red Camera coming up. We want to have a anamorphic feel but since we are outputting to HDCam and will probably only finish on HD 4K HD seems the best way of going about. Would being the best way to achieve that widescreen look be setting frame guides for 2.40 and then cropping it in FCP?

Hello, My buddy and I are coming up on our thesis next year and have started pre-pro on our project. We want to shoot Super 16. Our school has the Arri SRII and Zeiss Super Speeds. We have used it twice and though it yields a nice image we want a bit higher quality. I was thinking of two ideas. Since our SRII has a PL mount the thought of renting Ultra Primes or S4's came into the picture. However I don't know how well they will work with the SRII. I've been leaning towards a SRIII and prob. S4's. Though I've read about some 35mm lens's not clearing the viewfinder. If anyone has any experience with working with either of those cameras equipped with 35 lens's advice would be appreciated. Thanks

How do you expose for darker skinned talent? I have shot digital with African American talent and haven't ran into a problem. With lighting I always try to use a nice soft reflective source so I get more of a reflectance from the skin. My concern is I am coming on a S16 project where most of the cast is African American. I'm used to underexposing cacasion scene wether its for a night scene effect etc. But what do I do in the case that I want to underexpose for a similar effect with a darker skinned talent? If their refelectance is already 1 stop under and say I under expose a stop and a half from that (I mainly use incident) Im in a range of 2 1/2 stops under which is pretty dark (probably too dark for what I want). I guess the simple answer is don't underexpose as much maybe a half stop? This leads me into a second question; what do you do when your underexposing for a effect (weather its moonlight, etc.) and you have both a light skinned and dark skinned actor in the shot? Do you just go with what character is more important in the scene? Try to light both differently though? (I assume this could be hard if it was a wide shot with movement). Or just find the exposure in between and go for that? I know this question has been asked many times I got some tips from my search of the forums but I figured I'd ask it in my words. Thanks

Motivating a ceiling lamp for a family dinner scene at a table. Usually I like to use corrected practical's at 3200. However I can't change the bulb in this fixture so I'm thinking about putting 1/8 cto on my tug. units to match the orange hue of the lamp. This wont turn my skin tones too orange?

Finishing up my 3rd year first semester at SVA, here is a link to my new reel. www.anthonyderose.com

Can someone explain the meaning of Single Phase and Three Phase systems. Was on set and the gaffer was talking to the studio owner about it and their wiring system. I looked it up in Box's book but I really don't fully understand his explanation.