Josh Fritts

I have never used the Innovision DV Probe, but I have used the Innovision Probe II quite a bit and I am never happy with it. Most of the time, the lens never match in their sharpness. They only probe system that I have ever liked is the Optex Excellence Probe. I'm not sure if they make one for DV/HDV or not, but I think it would be worth looking into. Josh

This might be a fairly obvious question, but I just want some reassurance. I have a possible shoot coming up that wants to shoot on the Red in PAL. I have never shot with the Red in this format and I am nervous on how my lighting (tungsten, kinos and HMIs) will be effected on the 60hz power system in california. Will all 60hz lighting flicker while shooting at a 25fps time base at 25 frames? Would it be better to shoot shoot everything at 24fps and have production transfer to 25fps (which I don't think they want to do)? I would prefer to deliver in PAL just to keep production happy. What do you guys suggest? Thanks Josh

We did have a tie in, so I'm not to sure how they would handle on regular household circuits and I'm not to sure how the electric department was handling their distro. We were using the lensless fixtures. I don't remember ever having too much problem with spread. That being said, I almost alway start the light through a 4x4 frame of something and then either through another larger diffusion or into a bounce. The quality that stood out the most was definitely the light output. It was extremely powerful.

I used them last week and was very impressed. They are considerably more powerful than 1200w pars. I was shooting a commercial in a indoor skate park that had large overhead sky lights and they had plenty of stop after being shaped up pretty heavily. I would almost compare them to 4k pars. When you think about it, once you put a lens in front of a 4k par, the amount of light that the glass eats will bring the light down into the world of the 1800s. Its a little vague, but hopefully this helps

That would work pretty good. Thanks Guys

I have a shoot coming up that requires me to mount a 7D to a car for various shots. We will be doing some hood mount shots, but most of the shots will be from wheel level looking back to emphasize the tires (see pic). I have used the bigger Modern hood mounts, hostess trays and rigging kits before on other shoots that I have done, but I need something more low profile and indiscreet. Also, if anyone can recommend where to rent such a thing in Los Angeles, that would be great.

I have used the 18mm-85mm a couple times, but never on any projects of substantial importance. It blooms terribly in the highlights or around bright objects. I would put your money toward an older Angineux zoom that has been taken care off. You will be much more pleased.

Yeah they are, and its ridiculous.

In Australia, What are they doing about the frame rate? Are they shooting both at 30p? I have a shoot coming up where we are considering mixing the two formats (Red and 5D). Its very action heavy (a boxer training) and we will be shooting at 24p. Still, there will a far amount of night time, natural light, running shots through downtown Los Angeles that I was considering using the 5D. I'm not a big fan of action at 30p and I have yet to see a good 30p to 24p conversion.

thanks Michael

Hello everybody, Not sure if I am putting this in the right section, but here it is: I have a Toy commercial shoot coming up and I need to find a person or company that can operate a remote control helicopter with a camera mount. The shoot will be in Los Angeles and we will be shooting on a Red. If anybody has worked with one of these rigs or can point me in a right direction, i would love to hear from you. Thanks Josh

6k Space Lights are definitely the way to go. Thats what i usually do. If thats is not enough, I would fill in with 5k Sky Pans cleaned up with 250 or 251.

Hello all, Can anyone recommend a Grip and Lighting rental house in Greece, particularly Athens. I'm leaving on Monday to shoot a documentary over the next week and will need to pick up a small lighting kit and possibly some expendables(photo floods, lanterns, lantern socket assemblies, etc...) Thanks Josh

Check out Laurel Canyon Stages. http://www.lcstages.com/

My own custom designed set of ND grad and attenuator filters. Just enough to fit into one pelican case with my meters.

Low contrast and diffusion filters also add to the look.

A & I photography laboratory in Hollywood can process and print stills from motion picture stocks. They are trying to bring back what RGB was doing a couple of years ago. I think they sale motion picture stock that is already loaded into 35mm still canisters as well. Their website: http://www.aandi.com/

If it is in your budget and can afford a Fisher 9, 10 or 11 dolly, then they make Ice attachments implace of the wheels. Check this out: http://www.jlfisher.com/dollies/optional_a...p;Accessory=SKE

Kino Flo makes an 1800watt inverter with a battery pack. It can run two 4x4 kinos all day on one charge. I usually use them for car rigs, but they will work well for this situation as well. The only draw back is their size and weight. The battery is a 20"x20"x20" cube and weighs around 80 pounds. Most of the time they have caster wheels attached to the bottom. Most rental houses will carry this set up. Josh

FLB filter converts Cool White to Tungsten (use with tungsten film) FLD filter converts Cool White to Daylight (use with daylight film) These filters are not perfect, so any way you cut it, you'll have to pull green out in telecine.

I recently did a 35mm shoot that took place in a large office with flourescents and large windows. Due to budget, I could not change out the tubes or gel them all (it was a 23000 square ft office). So, I shot everything with an FLB filter and matched the green spike in the flourescents with all the other light sources that effect the shot. All my kinos were loaded with Cool Whites, my HMI got Full Plus Green and the grips built Full Plus Green frames out 4x8 foam core to go into the windows that were seen in frame. With green spikes in everything, the FLB filter evened it out some and then I stripped more green out in Telecine (but left some, because that was part of the look). I think this might be the same problem you will run into with flourescents praticales and daylight coming through the front of the store. Here is a link to the spot: http://geronimocreek.com/JoshFritts/Reels/...-JoshFritts.mov Hopefully this helps, josh

I like to use these: PH211 75w PH212 150w PH213 250w ECA 250w ECT 500w BCA 250w Daylight EBW 500w Daylight But, I dont know if this will help because they are 120v.

I live fairly close to Panavison Woodland Hills and I felt it. It sook a picture off of my fireplace.

We did it on a film that I gaffed about 2 years ago, called Three Priest. The shot was unusable right at the beginning of the move and right at the end, but it was pretty smooth through the middle. Here is a link to the trailer: http://www.gumspirits.com/threepriests.html It is at the beginning of the trailer and its the shot that slowly booms down on the house where Wes Studi and Micheal Parks are fixing the roof. Hopefully this helps, Josh

That, I don't know the answer to. But, I'm sure if you called lighting strikes they could help you out. Its a smaller company that manufactures everything there, including the globes, so someone could give you a quick answer. Josh