drew_town

Hey everyone, Could someone please tell me what the focal length multiplier for a 1/3" camera and a 2/3" camera is compared to the standard 35mm camera? Thanks.

Check these out on eBay if anyone is interested: 3" Mitchell Riser Vinten Tripod Spreader 3313-3 Arrilite 1K Another Arrilite 1K Please use eBay's messaging system to ask me questions about these items. Thanks everyone.

There's a BTS shot of Donald McAlpine's setup in Romeo + Juliet on the DVD with this effect. If I remember right, he uses a sheet of Plexiglas with a wooden frame at a 45-degree angle and pours water down it. It's lit from behind. He goes into detail on the shot in the commentary. You might want to check it out.

Yes it does.

Yes, I use a dimmer with my setup.

I use the 30" Chimera model and have a Mogul base like this one: Base from B&H I use a Matthews Junior Matth boom with a drop down pin, all on a rolling senior stand. This is a pretty large setup so if you're working with 8' ceilings and a small room it might be too much. There are a couple of design issues with the setup. The socket doesn't hang from its center of gravity so the light has a tendency to swing one way or another, but you can control that by mounting the socket so it sits to the side of the drop down pin instead of the front or back. Another thing is it comes with a really short cord. But despite the negatives it provides a really soft and controllable light source. And it's a pretty fast setup.

This actually turned out to be a Worrall geared head with Panavision handles. I'm not too familiar with these things, but I've figured that this thing is a bit of an antique. Would anyone know where I could find a service manual or is there a company that services these heads? I've googled all the combinations I can think of and can't seem to find a website or a manual online.

Greetings, Does anyone know the type of grease or oil to use for the pan worm gear as well as the pan and tilt gear reducer in a Panahead? The pan worm gear appears to use general purpose grease, but the gear reducers seem to use something else. This information was not available on Panavision's website. Thanks.

I ended up ordering some sheets of Half Soft Frost, enough to double them up if I decided to. Thanks for the input.

Greetings, I'm looking through Rosco's many varieties of diffusion material and I wondered what some of you like to use in this situation. I'm lighting an area approx 80'x30'. I've got a Desisti 5k and two 2k fresnels that must be mounted about 20 feet up and 40 feet away. I'm looking for a diffusion that won't absorb or spread too much light, but one that will help with the shadows on people's faces. I know there's a lot to be done by moving lights in closer and using large sources and that sort of thing, but this is for an installation. I'm reading through "Set Lighting Tech's Handbook" and it leans toward a frost like Opal or Hampshire. Any suggestions? Also any suggestions on the best way to utilize it (on a frame, outside the barndoors, inside the barndoors, etc.) I've also got a scrim set for each light if that helps. Thanks.

"Collateral" was better on the television than on the big screen.

I'm working on a shoot using a Pro 35 adaptor on a Sony D-50/DSR-1 camera. This will be the first time I've used the Pro 35 adaptor and the manual suggests to use prime lenses with the adaptor. Does anyone know what the difference would be between primes and a zoom? I've planned on using a Cooke 18-100mm T3 zoom lens. Feedback and suggestions on this setup would be welcome. Thanks.

I think you should ask yourself if the shot would aid the story. If it's art for art's sake, there should be some motivation behind that decision. To me an unmotivated shot comes off as pompous. The camera moves and composition both relay information and gives a context for the information. The way I approach a shot design is to think of the most effective way to communicate the story. If an actor is to give a personal monologue, I might consider a dolly in to the actor to help emphasize that, and so on.

Here's some BTS stills from a Noir piece I just finished. It was a really low budget project, but it was a fun shoot. The lights were mainly 1k and 2k Mole openface and fresnels to achieve the Noir look. Shot on 2 XL1s cameras in black and white. BTW that's me in the dark shirt.

I really liked the movie overall. I have worked on some dance pieces myself, and I really enjoyed seeing a movie with such strong and creative cinematography. It was really inspiring. I would guess the "Life Support" scene was shot using some sort of motion control rig.