Andrew Brinkhaus

Agreed. :(

You could always note the difference when placing your polo over your meter in incident mode.

Looks great Chayse. Congrats!

Looks like you can see a final trailer and some BTS at www.dragonhunterthemovie.com.

Darn. I'm on something this weekend. After Sunday though I'm open for a while (at this point.)

Matt, if you plan on working with some anamorphics in the future, give me a call! I'd love to come and 1st if you need the help.

Matt, we got our set from Clairmont Camera in LA.

Stuart, your trailer link is down.

Thanks for the links, Adam.

Hey guys, I'm working on a show this weekend shooting RED with Todd AO anamorphics (first gen), just curious if anybody has worked with these lenses before. Any tips or advice for general on-set use and handling is appreciated. (Please don't link to Max's thread on anamorphics, I have read it thoroughly.)

Subtle but professional, I like the color schemes between the pages of the site. Overall it looks great.

Great work Matt. The studio and ringside lighting scenes were my favorite of the video.

Paul, was the Cyan 30 the same gel used to match the green of the existing fixtures?

Robert I think you have some things confused, shutter speed and shutter angle mean the same thing essentially, one term is used more in digital, the other in film. If you are referring to shooting a higher frame rate to create a slow motion effect, yes you can do that in conjunction with the 45 degree shutter, you will not alleviate your light loss problem by doing that, as higher frame rates require MORE light. So essentially you will be losing 2 stops at 45 degree shutter and then say another stop if shooting 48 frames per second. Check out Saul's links if you are still not totally connecting all this.

The term "shutter speed" is most commonly used in conjunction with digital shooting, where the speed of the shutter is being represented as values in fractions of a second, ie. 1/48, 1/60, 1/100. "Shutter angle" corresponds to a film camera where the shutter is generally a circular rotating disc, think of this like a pie diagram. The amount missing is that which transmits light through to the film gate. With 360 degrees being the full shutter, the standard angle for motion picture is 180 degrees, or what would translate to 1/48th of a second in shutter speed. As you decrease the angle of the shutter, 90, 45, etc. you are allowing less light to enter the film gate while the film still travels at the same speed, say 24fps. The result is a stroby, sharp and "accelerated" feel as opposed to a smoother softer result in movement at 180 degrees. A 45 degree angle was commonly used in SPR for that specific effect. Shutter speed and shutter angle can be connected in that as angle goes down, shutter speed would go up, (1/120th, 1/250th, etc) 180 degrees meets with 1/48, 90 degrees meets roughly with 1/120th and 45 meets around 1/250. Because at a smaller shutter angle, you are allowing less light into the gate, so compensation is always necessary when shooting outside 180 degrees. Here is a rough layout of compensations for shutter angle. Happy shooting! 180° - 0 stop compensation 142° -1/3 stop 113° -2/3 stop 90° -1 stop 71° -1 1/3 stop 57° -1 2/3 stop 45° -2 stops 36° -2 1/3 stops 28° -2 2/3 stops 22° -3 stops

Matt I don't know what others will say, but I am pretty sure that the lights at :33 in the Motion City Soundtrack video are tungsten strips. They look like a small bulb of some type. Also, that video is a couple years old, not sure how popular LED technology was back then.

I've been thinking Cyan 60 and 30 may be perfect for this... Need to get my hands on some to do tests, but from the tone of the gel, seems about the right amount of cyan/blue to create the effect when put on an HMI.

I guess I almost see it like the purest white reading almost a hair blue itself, like 1/8th teal tonal range...Still white, but with a pureness to it, like in the first video link. And Mike I think you are totally right about the teal/green tones in the shadows, that adds a huge amount of it. Any suggestions on specific gels to get a light blue/teal color like in the first video about half way through?

Sure, that is one way I can imagine going about it. The thing is, in the Story of the Year video, it is obviously a color cast as the warm tones don't share the teal/green shadows and highlights, I think it could be achieved and controlled more by using gels, lights/correction.

Any general thoughts on achieving this look? Anybody have luck with specific gels to create that teal/blue lighting texture? Other tricks? PERFECT examples of what I am after. Any thoughts are appreciated! http://www.youtube.com/watch?v=QcszCf3ekkI

Great post Brian. I think the most important factor to consider is that of what you said, those who just want to call themseves DP's, and those who can really shoot, and realize the pros and cons of their career decisions.

In fact, in sunlight a 2K and a few 800W tungsten lights will be practically useless. I would suggest some large HMI's, 2.5K, 4K, 10K and up.

Thanks for the reply Adrian. I understand the aspect of converting a film for TV, I really was just curious about the potential of these scenes being mainly lit with a single gel type.

After seeing Assault on Precinct 13 on FX the other day, I noticed that the last half of the film is lit around a blue color pallete, more particularly what looks like a single gel. My question is whether or not it might be a combination, or if the shot to shot color, which in the film looks identical throughout the last 20 or so scenes could be the result of a single "key" gel. See reference below for example.