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skot_blank

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  1. ""I only put into Airline baggage things that are awkward and hard to run with always in a cardboard box with no handles. A brown cardboard box can be the best protection for your gear."" Also, is it cool to totally seal the cases in cardboard boxes? Will the people have to tear it all open to inspect the contents? It makes total sense to me not to have a flight case come down the baggage claim with a label which reads ?ARRI 435 BODY?. So if I get to the point that I am going to fly with the gear the brown box may be the way to go if I can make it work. Thinking about it mor
  2. OK, just keeping the options open. How did you ?carry on? the body and lenses? In the flight cases? Also will shipping be really expensive because of insurance? The insurance will have to cover the value of the contents???
  3. WOW..really? Did you chase him down? I will be traveling with four people in total so I would guess we could spread the cases out over the group. This does not solve the issue of handlers taking items out of cases or the potential of someone walking away with a case at baggage claim. When do you let the people know you want to be around for the inspection? What type of process is that? We do have a direct flight which I though would help a little bit. Maybe I should look into the shipping option just to have a choice for the production. Thanks for all your comments.
  4. I will need to fly to a show I will be working on in Jan. and was wondering what the procedure was like at the airport for traveling with 8 flight cases of camera gear. I know I check it but what if any limits would I have? Can I lock the cases? I think I have seen flight cases zip tied shut on the latches. I know I need to make sure they are tagged well in case something gets missed placed. Any help for a smooth trip with the cases would be appreciated.
  5. I actually have a fair amount issues that come along with this project. The house is some sort of historical property (the reason we can?t touch the walls). Also we are pinned to shoot it on the 500T?18 stock. The production had left over 500t from the last shoot they did, so we will be shooting on the left overs. The walls in one part of the house is this medium cream color ( defiantly lighter than 18% grey, in fact if I had to guess some place right between white and 18% grey). The house has other rooms with better wall colors but those rooms are much smaller. So, I sacrifice room size for b
  6. I have been thinking about this more and was wondering if I could get the effect that I was after by making a frame that was 12?x6?. Taking the 12by top and bottom rails combined with the 6by side rails (making it 6? tall by 12? wide). The getting like a 12by grid cloth or muslin and skinning the frame with that, just letting the excess hang off the bottom. The being able to put a series of tungsten units behind the 12x6 frame. Would that size source in these size rooms effectively light then entire room, and feel like it was motivated by a big wall of windows? I was also thinking that
  7. I have been hired to shoot this short film early next year. In the conversation with the director he is looking for a fairly natural soft light for the interiors for this residential house. The house will be a practical location. I have only seen photos and floor plans so far. The ceilings are only eight foot high it is sounding like I will not have any possibility in rigging anything off the walls or to the ceiling (no wall spreaders, no baby plate into the ceiling, nothing of the sort). Room sizes range from 16x26 and 20x20 and the smallest 16x12. I was thinking that it would be nice to
  8. I put together one of these units and it got very hot. I was wondering if anyone could tell me the true dimensions of the unit. I think maybe I have the chicken wire too close to the ECT bulbs. The muslin starts to discolor (brown) and begins to smell a bit. I guess from what I have gathered over a 6? length you put 6 porcelain sockets on the 1? x 3? (wood), but how much chicken wire is needed? How far away should it be? With the entire thing covered with muslin then slightly skirted with duve it is like a little oven in there because the heat can not escape. Any tips for a safer second attemp
  9. What can I expect to see in the image if I was to underexpose the footage 2 stops ( on purpose ), then in telecine recover the under exposure. Will it recover and look like it was exposed normally? Skot
  10. Does anyone know of an east coast rental house that has a 35mm PL mount hand cranked camera? Skot
  11. Ok, my questions and confusion about muslin balls / musballs / muzballs breaks down like this. I guess people have a preference for them over china balls because of the different diffusion material (muslin) that they are constructed with. I have heard two main reasons in my research 1. able to take a higher wattage bulb (more than 500 watts? So does that mean they are constructed with something other than the 650w rated porcelain sockets? And don?t people put 500w bulbs safely into china balls?) 2. The different light quality you get from the muslin as a diffusion material. Different material
  12. So? we are looking into other camera options. It is kind of funny that this has come to be such an issue for the production because I was told by the director ?you don?t light as good as the others I met with but your handheld work is absolutely amazing?. The project he saw was a music video I shot on a 435ES which handles well. I guess the issue is this director has free access to an Arri 35-III for the weekend of the shoot. So anything except the 35-III will be a budget impact. We are looking into other options and I will let you know how it all falls out. In the mean time any more
  13. I have a shoot comming up with the Arri 35-III. Most of the second half of the project (a spec commercial) will be handheld. Having never shot with the Arri 35-III I was wondering if anyone has any tips to get the camera balanced so it handles well on the shoulder. ( I ask this because the camera body seems to be way "out front" of the viewfinder, thus making it almost impossible to put up on you shoulder like you do with the Arri 435) My best guess currently is to get an extended sliding base plate and adjust the long tounge out the back to rest on my shoulder. Any ideas would be app
  14. Hello- I have been thinking about the process of relighting for close ups. I guess my question really is why and when. So when you do relight the close up are you matching your stop and lighting ratio from the wide shot? What typically do you change in the relight of the close up to make it ?better?? Could anyone share any common relighting set ups? Also could you share common relighting mistakes? Thanks.
  15. Hello, I am about a week away from cutting my first reel of projects I have done over the past year. My question is concerning the music I would want to use in the reel (a montage type of reel). I want to use a song off a sound track to cut my images too. I know I have seen people do this before on reels, but did they get permission to use the songs or pay for the rights to use the songs? I would like to know before putting the track on the reel and potentially having issues when I send it out. Thanks in advance for your help. Skot Blank Student cinematographer
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