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Jase Ryan

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Everything posted by Jase Ryan

  1. Shoot it over 2 days.. no extra equipment needed and it will be real.
  2. 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.
  3. 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!
  4. Great.. thanks! Yes this is also for reference with my colorist.
  5. 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
  6. Great! thanks for the advice I'll post the final result when done!
  7. 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.
  8. Is this a stupid question or is there no way?
  9. 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
  10. 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
  11. 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.
  12. 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.
  13. 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?
  14. It makes sense not to cover the top to keep airflow going, but are you saying not to cover the bottom either? is this with any size bulbs or only 1000W? Because that would kinda be bad if there was a harder spot coming straight down!
  15. Yeah the paper ones seem so sketchy though... is there anywhere to get ones made from a more sustainable material?? And where do you get photoflood bulbs? Thanks!
  16. So where do you get the right Chinese lanterns for film lighting? I know you don't use the paper ones you get at the dollar stores, so what do the professionals use? And what about the bulbs??? Thanks!
  17. Thanks for the answers! I'll check out those books - I've heard great things about Reflections. Can you tell me a bit about processing? What happens to the image when Pull processing or what happens when push processing? I hear some cinematographers talk about how they always over expose the image by a half o full stop. I'm guessing when they do this, they pull process it to bring it back? What else does that do besides getting your exposure back? Thanks. Jase
  18. this is a fairly novice question so i apologize in advance. I'm wondering what the best approach is to getting the richest and best images on 16mm or 35mm film. I've shot a bit on 16 and have played with 35 as well. The images are exposed, but the quality is not quite there that I would like. I know experience is first, but would like to know some basic principals to getting those rich images that you see on big movies. Does over exposing the image by 1 stop, then pushing (push means bringing the exposure back down?) a stop in development help get rich images? I know you want a dense negative, whats the best approach? Sorry for the stupid question. I have a shoot coming up and want to know this! Thanks!
  19. I shoot on Red HD and on 16mm film often. I wanted to get a Follow focus that works well on both systems. Buying a new FF4 package is expensive and saw a post on ebay for a FF2. I know that has 15mm light weight rods, but is there any reason I should avoid this?? Is the FF2 still a good follow focus unit? Thanks
  20. I love shooting film, both 35mm and S16mm. I also don't mind film grain but sometimes, depending on the story it can be to much. I am wondering the best advice to eliminate as much grain as possible. Would over exposing the film by 1 stop, then pulling it back down by 1 stop help? I watched the Wrestler again and think that looks fantastic. Very clean images. I want that!! Thanks
  21. I recently shot with a Aaton LTR 54. Great little camera. But we were using Zeiss Super speeds and an Arri FF4 and a Red Rock Micro Mattebox. The problem we had was the FF4 and the Mattebox couldn't be used together because the there wasn't enough room on the rods. The design of the Aaton might have something to do with it as well. The lens mount is set back from the lower part of the body by a good inch. So we couldn't tuck the FF back any further.. although it would have still reached the focus rings. Does anyone have any good suggestions for FF and mattebox combinations for a Aaton LTR 54? Usually we will use the Zeiss MKIII super speed primes. Thanks in advance.
  22. I shot a scene that had a 1.2K HMI and a 1K Baby. We were shooting at 54fps and the HMI was flickering a lot but the Baby wasn't. But being at 54fps I thought would have been a safe frame rate. What rates are?
  23. Hi there... I'm wondering if HMI's run at a different frequency than Tungsten lights. If I'm shooting high speeds that don't match with HMI's, will the same be for Tungsten lights? I know HMI's run at 50Hz.. do Tungsten? will this cause both lights to flicker at say 50fps? Thanks.
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