Tim Nuttall

Hi all, Heading out to shoot a sunrise over the desert. Shooting on 35mm spherical - probably the old Fuji 125T as its what I'll have available. Any tips/experiences on shooting a sunrise? Any preferred filters? Should I go no filtration since I hear people sometimes have ghosting problems? Thanks.

Chris, Do you have any pics of this rig? Reaching tension stasis is key for what we want to do.

Hi all, Looking to build a bungee cam rig on a Fisher 11 Dolly to hold an Arricam Lite. Probably can't get something smaller like a 235. Has anyone done this? Would like to cross the bungees in an "X." Thoughts on construction? Thanks

Hi all, Other than shooting in a found location, has anyone tried using real mercury vapor sources as opposed to gel packs on lights? How about self-ballasted vapor sources? I mean either building them into a set or as extension lights. We'll be creating light poles (with mercury vapor units in the story) on an exterior built on stage. Some will be in frame, some won't. I thought real vapor sources in the fixtures could be nice - maybe HMI's gelled. Finally, what are some ways you have created or extended "streetlamp" sources. Fresnels? Maybe HMI for mercury vapor? I really would love that cyan look. We'll be shooting 5219. Thanks.

Thanks for all the great responses. The miniature is built to this scale mainly for cost and space restrictions. I think I may do some tests at 120 or 150 fps to see if it could still sell the blowing snow.

Hi all, I have a miniature shoot coming up on an arctic base at night built in 1:96 scale. According to my calculations using the classic frame rate formula, the model would need to be shot at 235 fps to achieve normal gravity. The only base motion I would anticipate would be smoke from buildings and possibly blowing snow from "heavy" winds. Also, there maybe some F/G snow, but that could be an optical added later as that wouldn't necessarily be miniaturized. My questions are: - Besides a Phantom, what film gear could shoot at this high a frame rate? (It's a 35mm show by the way) - Do you think we could cheat the frame rate back to say 150 fps and still get away with realistic blowing snow? Any suggestions or experiences are greatly appreciated. Thanks.

Hi all, Any good ideas for sunset gel packs. Combos that you use on units? Do you mix lighting units with various gel combos? Thanks, Tim

Hi all, Three Monkeys is simply a stunning film, watch it if you haven't seen it. What do you think Tiryaki is doing with the image? Is there an adapter in use? Very control prod. design pallete obviously, maybe some matrix play? Do you think there are grads in use regarding the sky? http://www.nbcfilm.com/3maymun/trailer.php?mid=8 Thanks, Tim

Hi all, Quick question. What is the difference between the silver or gold lemay and the silver or gold microwave in terms of character of the bounce. Also, what will a checkerboard lemay offer? Thanks.

Hi all, Whats a good choice to extend the motivation of a sodium street lamp? I will have a pole/tree bracket to rig a lamp with a baby pin to the wood pole of the lamp. Any ideas to match the CT some light diff maybe? Any help is much appreciated. Thanks

Hi all, What color Streaks & Tips is preferred for dropping the intensity of a bulb toward camera? Thanks.

Hi all, What are your thoughts on lighting a white cyc (20') with Kinos for a white limbo effect? I may not have access to any space lights/sky pans. Any techniques you might recommend? Thanks.

Thanks you for the great responses. So the "white limbo" shot against a cyc wall, correct? What are some good options for lighting such a wall? KinoFlo? SkyPan? Thanks.

Hi all, Wondering what techniques were used to shoot these commercials? Is it green screen or a white backing? Would there be any positive/negatives regarding the two? Thanks.

Are color negative stocks processed in the same bath (mix of chemicals)? Different ones for different stocks? Just wondering... Thanks.

Hi all, Is it possible to intensify the effect of say a ProMist filter in post during telecine? What if the image already has a ProMist, but it is of a lower strength? Thanks.

Thank you David.

Thanks again David. I suppose the background area I read at F.5 - F1.0/1.4 could be "printed" down to remove any detail in the telecine supervised transfer. Do you think its possible?

Thanks David. This seems good then since I hoped those areas would expose black. Rating at 800 and spoting the grey card at F4, this will result in a 1/3 stop print down correct? Thanks.

Hi all, I was shooting this past weekend using V2 5218, rating the film at 800 and shooting for a 1-stop push. I generally worked at an F4 and wondered if certain areas in frame read (using a spot meter) at between F0.5 and F1/1.4 split, would they expose black? I know the push increases the density but does it cut a stop of latitude off the toe with its increase in contrast? Thanks and Happy New Year.

Hi All, Quick question for you. Reading American Cinematographer (Dec. 07) and the article on American Gangster, I noted that Harris Savides shot Vision2 5229, rated the film at 1000, and also Pulled the film by one stop. Am I wrong or is he now underexposing the film by one stop rating it at 1000? Isn't pulling usually combined with overexposure? Why might he do this? Thanks.

Thanks for the info!

Hi all, I'm looking to do some close-up work on the human eye (similar to the images in Sunshine) and I'm wondering what my best options are in terms of macro lenses. Is an extender a good option? The format will be super16. Thanks, Tim