Andrew Brinkhaus

Great grabs David. Love the look of the restaurant in the two shot. I'm guessing the glare on the table is coming from the Woodylight? You mentioned Showtime insists on shooting in HD, why the Genesis instead of the RED?

Thank you very much Adam! I had a feeling that warm gel was ChromeOrange, I used it recently on a shoot and I thought it looked very similar.

Here ya go Mikael. http://www.austinfilmtools.com/pages/gear_...ortran_fay9.htm

Can anyone pick out the type of color gels used in the BG, particularly the warm gel and the teal/blue color?

12 chinese lanterns will be fine. A 36" lantern with guts, lamp, and cable doesn't even weigh in at a pound, so 12 spaced out lanterns across the drop ceiling should be no problem at all in terms of stress.

Can anyone provide the true dynamic range of the CCD's in f/stop? What is the clipping point from 18% gray? 4-/4+?

Beautifully shot by Swedish cinematographer Eric Maddison, the video for Timbaland, "The Way I Are." Give it a watch and take notice to the amount of depth, amount of different light sources and colors, panning lights, flares, etc. I am just blown away by the variety in regards to lighting here, almost gives me a headache! As a DP, how do you begin to structure something that intense and "stacked," meaning the quantity of light and pace of shooting on a music video? Obviously you don't have time on set to just keep adding little adjustments here and there until you end up with something that looks like this. That must be elaborately constructed before hand. Maybe it is just me, but my brain doesn't think down to quite that precise a detail quite yet. Maybe it's something that has to be obtained over years of shooting. Regardless, Mr. Maddison is incredible at what he does. http://www.ericmaddison.se/promos/tim.htm

Looks good Chayse. Job well done. What size Parcans did you use? Any particular gels on the Pars? Really love the bokeh of the harbor lights out the window. Very cool.

Great work, as usual Stephen. What is the length of the short?

Or turning on the overhead fluorescents. ;)

35mm/s16mm/HD. Suggestions and any feedback will be much appreciated. http://vimeo.com/1429488

35mm/s16mm/HD. Suggestions and any feedback will be much appreciated. http://vimeo.com/1429488

Well just to name a few 35mm systems, there are Panavision models such as the Panastar, GII, Platinum, XL2 system, Millenium Panaflex, I'm sure others will throw in some older models as well. Arri boasts the Studio system, 535, Lite, 435, 235, 35-III, II-C, BL 4, BL, 3, BL 2, and some older Arriflex models. In regards to RFU models, I have heard great things about both Preston and Bartech systems.

Ok, spill it. I also want to know how you lit the pillars.

Looks like a lot of fun!

I just mean we have come a long way in technology, especially in warfare and weaponry in the last 34 years. Bombs used back then had different characteristics than today's devices is all I am suggesting.

Well I should mention that the film takes place in 1974, so not exactly modern warfare.

Phil, I agree. I think the source should be pretty sharp. Obviously though, this largely depends on the distance of the blast.

Thanks for the replies so far guys! I've decided after watching all the blast and explosion videos I could find on YouTube that, similar to what I thought initially, a very quick "punch" of light, and then a slow falloff will be the most realistic. Depending on the layout of the room, and the number of windows, I think 2 5K's flooded in each window should be enough. This will be a great contrast because the rest of the room will be very dark, "unlit" only the ambient light from the windows illuminating the room. This will probably be achieved with china lanterns gelled and put on dimmers hung throughout the room. Now I'm trying to figure out the best way to control the light. David mentioned flagging them and quickly panning them away on que, this could work well if they were hooked up to Variacs, and could be faded by hand. This would give us the most control over adjusting speed, timing, etc.

It makes perfect sense that subtle changes could occur throughout the workflow and into the editing bay/dailies. Do you adjust your production monitors so that producers/director, etc. are seeing more of a "final product" image as compared to the muted look of the RAW format while shooting?

How would some of you guys approach this?

Dust shakes loose from the teak rafters as bombs collide with nearby buildings. Another blast illuminates the room. Ok. Sounds simple, but could be interpreted a dozen ways. How often do we actually see an illumination from a bomb blast? I think color is the most important element to recreate here. I think this could look cheap very easily as well. I don't get to location for another month, and don't have the resources right now to test it myself. Initially I am thinking of maybe two 5K's through the window, on Flickermasters or a dimmer of some kind. I think the light should kick on, as the light from the explosion emits, and then quickly fade back down. So a very quick fade up, almost instant, and then a slower fade back down. I don't think the light should peak for no more than a second at most, however. Anybody have any suggestions or starters?

Wall spreaders always amaze me. Not sure the talent and producers feel the same way though. ^_^

This would be very difficult for a program to calculate, if not impossible. There are too many variables involved to yield a reliable result. The distance of the light to the bounce, the density of the bounce, exact color would effect reflection, as well as the size and material type, whether it is foamcore, gryfflon, etc. Why not just meter the bounce of the light and use a table to convert your f/stop to FC's or lux?

Also, could you find out the combination your gaffer is using to match the green of the existing fixtures? Would be good to know for future reference.