giap vu

[bouncing the pars with VNSP bulbs into a foamcore my gaffer called for this one time and it burned a hole very quickly into the 4x foamcore. be careful! I'm only saying...

UNLV: elaine and g2

hello, thanks for the replies. No, I haven't tried to use other lens' yet - financial reason and all. So I suppose I'll need to take it in for inspection and possible service. Can these test be done on my own? thx again.

Hi, Finally got a lens - angenieux zoom type 10-12 B no. 1423333 - for my eclair acl and I have a couple of problems. First, the focus is only good at 120mm. Does this sound like only a lens issue or could it be a camera issue as well? Secondly, the lens zooms automatically from 40mm to 120mm. Does this sound weird? thx

you may want to try this method - used it on a number of features I've worked on: 650 or 1k on a beaver board with 1/2 or 3/4 cto bounced into a bouncing (grip doing the gag) pop-up green screen but shiny side (silver side), or show card. works from wide to ECU.

hi, thx again for this well thought out advice. the spread sheet sounds like the perfect tool to get more organized which interestingly enough I didn't think of. I have the prob of depending on my memory to keep me posted and on schedule which makes everything less efficient. Also, the RED int. film ext. sounds interesting also. Any opinions on this? i've witnessed shooting on short ends a nightmare at times because of time consumption. now, in order to get a fairly well-known actor - i use the term actor to be gender neutral - you're paying at least 5,000 a day - so most likely the budget has to go up, but i figure this can be considered later as we would only need the headliner for a day or two - for marketing purposes. actually, in my experience, shooting in LA - especially in this economy - isn't so bad. permits seem to be less of a hassle and gorilla'n'it happens with much impunity.

hi, I guess; contemporary, urban and gritty with a North by Northwest premise would best describe the setting, look, feel of this LA story. The actors are going to be unknowns (not for long hopefully). Also, ext. are going to play a major part but not exclusively. Thanks again for everyones help.

thx for the info. i haven't given up yet so i'll do a little more investigating to try and make the 16 or 35 happen.

I think I understand what you mean. The productions I've worked on with budgets from 150,000 (HD) or less, because of the budget, seem to suffer from robbing all key departments from unavailable investment. I see it now in the final product and it's depressing. So, I guess I'll - we'll have to go with the RED, which can get for free.

Hi everyone, I have a feature in development with a budget from $75,000 to 90,000 and was wondering if on this budget one could shoot on 16mm or 35mm: raw stock, processing, and telecine? Thx in advance! -Giap Vu

yep it's true. just don't come out of mole with a funny know-it-all u know what. rumor is it'd be the standard there.

i guess we could consider the sad fact that most of what we creatively put our signatures on, i.e. rigging/ lighting, ends up inconsequential after final edit and delivery of something far inferior from the whole process; which is all that is pure and worth mentioning compared to an end product that is, for the most part, disappointing and often times depressing if it weren't for the relationships cultivated and introduced

Thank you PHIshizzle! Our key grip figured a variac could solve the problem but the best boy elec begged to differ. another problem we were having was lamps blowing. Both our 250 inbetweenies blew out. We were running power off a 400 amp generator and again no one could figure out why this was happening. The gaffer suggested it was the end of the bulbs life but it seemed too much of a coincidence. Any theories?

Hi, Wondering if anyone can explain why when par cans are dimmed there is humming/buzzing in the audio? The reason for ask is because I'm working on a feature and Sound was complaining about this problem. Thx

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