Jase Ryan

Shoot it over 2 days.. no extra equipment needed and it will be real.

Hi.. I'm just wondering if someone can tell me what the different type of electrical tie ins there are. I'm renting some from a local equipment house, and they asked what type we need. I'm not sure what the differences are. Is it just depending on if its seaway or joy tails? If this helps, the location has a few transformers of 100amps. Its in an old warehouse and is definitely juiced up as it was a big factory. Any info you can give me would be great. Thanks in advance.

I'm in prep on a feature right now and the director is wanting to do a shotlist with me. I'm fine with that of course as I've always done them, but I do feel like the majority of whats written in the shot list is thrown out on set anyways. Sometimes I feel like the countless hours of shotlisting could be better used in other areas of prep. Do others agree? And do many of you not even bother shotlisting?? Also as a side question, if you use frame forge, what do you think? Is it a great tool? Thanks!

Great.. thanks! Yes this is also for reference with my colorist.

I know many cinematographers now have a DSLR with them on set when they shoot film. I'm just trying to figure out how to set up my DSLR to get me the closest approximation of what my Arri will be getting. If I'm shooting 5219 500T at 24fps with a 180 degree shutter, what would you set your DSLR at to mimic that or reproduce an images that resembles it? Thanks

Great! thanks for the advice I'll post the final result when done!

I'm planning a shot that I need some advice with. Its Interior evening in a large house. The last shot of the scene is a dolly past the actors to the window, holding on the view outside at night. In the final edit, I want that shot to look as though the sun rises.. or at least it gets bright out. Then, I want the camera to dolly back in and it's daytime in house and its the next day with the actors... a new scene a new day. Basically, I want it to all look like one shot. How would I approach this properly? We are shooting on film with Kodak 5219. Any adive would help. Thanks.

Thanks John.

Thanks.

Is this a stupid question or is there no way?

I shot some footage recently at 29.97 that I want to edit into a timeline on final cut that is 23.98. 85% of the footage in the edit is shot at 23.98 so I need to keep that as the framerate. But when final cut converts the footage, it looks bad. Is there a way to convert it properly so it play right? Is there any tricks that can be done in Final Cut Studio or do i need to bring the footage to a proper post facility? And if so, what is it that they do? Thanks, Jase

I shot some footage recently at 29.97 that I want to edit into a timeline on final cut that is 23.98. 85% of the footage in the edit is shot at 23.98 so I need to keep that as the framerate. But when final cut converts the footage, it looks bad. Is there a way to convert it properly so it play right? Is there any tricks that can be done in Final Cut Studio or do i need to bring the footage to a proper post facility? And if so, what is it that they do? Thanks, Jase

Can anyone tell me how to properly make a stove plug with some C-Way? I have C-Way and an old electric stove from which I can cut the plug. I'm not sure how this should properly be fixed together. Any info or step by step instructions would be great. Thank You.

I'm shooting a project next week on 35mm. We are shooting on a scene on city streets that takes place at night. All the shots will be easy to light as they're fairly close, except one long shot that we want. In order to light it, it would require lighting up 2 city blocks and we just can't afford that. So I'm thinking about shooting that one shot at twilight and making it night in post. My concern is, how would that cut it? Would it come across looking like its actually at night? Would it match othre shots that are done at night and lit? Does anyone have suggestions or examples they can show? Thank You.

Besides keeping everything in focus, what requirements would you ask of a 1st AC. Also, if they mostly work in HD, where they pull from the Monitor as well as watching the actors, would you ever bring them to film if they haven't pulled focus on a film camera? And, how would their job be any different if they are pulling focus on HD (Say a RED or Phantom) as to film?