Andrew Brinkhaus

Thanks a lot Alex, good to hear some positive feedback. Lets hope others chime in too.

Hey everyone, I have the application sitting in front of me for Panavision Hollywoods 2-year paid internship program, and I wanted to know if anyone here had experience with or has heard of the program. I've heard it is very hard to get accepted for, but if I'm going to go for it, I'm going 200%. I will be moving to LA in August, and I want to pursue becoming an industry AC. A friend was working with John Boccaccio (Robert Yeoman's 1st AC) and he recommended to me that I look up this program. So I did. I'm wondering if maybe I should wait to apply till I'm in California, or if applying now is a good idea. They say there are lots of interview steps for the job, so my not being there could be potentially counter productive... I think this internship would be great though, it would allow me to meet a lot of AC's, and establish a working relationship. Also, seeing as how I am just moving out there, a paying full time job gives me a lot of financial security. I know they get tons of applications for this, but I feel like I could have a pretty good chance, though I'm sure everyone who applies thinks that. Any suggestions on what I should do?

Wrapped. Everything today went great. I was with a different operator, and that really helped a lot. The guy I was with before was filling in on a different camera for another operator who couldn't make it. Today I fed from the back of my roll to the pile, instead of feeding out to the operator, and that worked much better. I didn't run into a single problem, even when the operator was running all the way around the ring! Thanks everyone for the advice. It definitely helped a lot. BTW- Brad I tried wrapping over-under on the ground today, and apart from not having record breaking speed, I didn't have much trouble getting the hang of it. After a few wraps I saw that it was easier to get the hang of it by just grabbing the next section of cable, and pulling it underneath the current loop, and laying it flat. I may be back on this gig again in 2 weeks for the Pay Per View show, so I'll have a chance to practice some more.

Thanks for the advice Brad. Today is my last day so I will try to utilize everything you have recommended.

Haa, I tried it yesterday...Didn't happen. I had to pick the pile up and do from the side. Funny story about last night- So I'm standing there during commercial (this was a live event) and I'm trying to get my cable kind of straightened out, because I was fortunate enough to get switched stations at the last second, so I was working a pile of triax that was wrapped for a lefty! The operator found it necessary to several times jump over the barrier and go running into the seating area, so I was left sprinting after him, trying to release cable from my opposite hand. Later, I told him my triax was wrapped the wrong way and his answer was for me to rewrap it. So he kindly grabs my cable, and tosses it on the floor. ...During a commercial! So now I have about 20 seconds to get this spaghetti off the floor and back into a usable wrap. Next thing I know, one of the wrestlers had run across between me and the operator, and had caught the cable on his foot, which he proceeded to drag into the ring. All the standby guys rushed in to get it off, but it was definitely a scary moment for me. It was a crazy night, but I survived. Lets hope tonight goes better.

Yeah, sorry I should have specified more about the job. It is for a TNA wrestling show at Universal. I believe it will be just standard coax, but I am not 100%. Thanks for the tips so far. I am familiar and consistent with the "over-under" technique, I was more so curious as to methods of moving around, and releasing cable, etc. which you guys covered most of. Thanks!

Will be wrangling cable for a show the next few days, filling in for a friend. I haven't wrangled before, so I am a little nervous in terms of making sure I get things somewhat right. Any advice on methods of coiling, moving, etc. and/or things to look out for? Thanks!

Hey Matt, to get that bright natural daylight look, with this soft recreation, I would agree with your strategy of using bounced light. A 12K is definitely overkill though, you could do this with a 6K HMI, bounced into an 8x8 griff, and back it off a little to create that fall off.

Dan, good question. Try to think about it this way, the average range for "middle" or "normal" exposure is considered 18% gray. This is also what gray cards are calibrated to. If you use the Zone system of "placing" a level of brightness on a scale, 18% gray would be right in the middle. I wouldn't correlate a certain f-stop with a particular level of brightness, but rather think about it like a see-saw, if the image is darker, your neutral gray, or 18% will be higher on an aperture scale, more wide open. On the other hand, if your image is brighter in exposure, your 18% gray will be more on the lower side of the aperture scale. This also can get confusing when introducing different metering modes like incident, and spot metering. For example, lets say you are lighting a scene, and you spot your gray card, and get an f/2.8, well this means in order to expose that gray card at perfect zone 5, or middle gray, you should shoot at a f/2.8. So having a middle gray, you can now interpret your formats range in latitude to determine how far above/under you can expose and still retain detail. Always remember though, that spot metering is simply trying to tell you how to make a certain item 18% gray. If you are trying to shoot a black couch, and spot it at an f/2, and shoot at an f/2, your couch will appear gray and milky. This should always be considered. Your question about ND is VERY dependent on the format being used. Lets say 16mm, a standard 500T stock, we know that we have roughly 9-10 stops, which means 5 stops over, and 5 stops under. (This is largely dependent on the stock, as some are more/less sensitive/top/bottom heavy). If you wanted to shoot the scene at an f/5.6, and pulled out your meter and read a f/5.6, then you know that area of your image is right at proper exposure. The next step would be to then figure out your darkest areas of the image, and your brightest. Lets say you get an incident reading at the window, and it says f/32. Well, if we have 5 stops above our 5.6 to capture detail, then we know that our reading is right at 5 stops overexposed. To keep from looking overly bright, and to not lose detail, I would try to keep the window around no more than 3 stops over. (This always depends on the mood and setting of the shot!) So we want the window to read at an f/11, which means we need to bring the window down 2 stops. Well, an ND .6 gel is a 2 stop reduction, so that would put me right at my desired exposure. Hope the example helped put it into an easier template, sorry about writing you the book. Ah, I'm sure someone will find it useful.

Like others have said, I would use a higher wattage bulb on a hand dimmer, you could be looking at anywhere around 2600K on that if you wanted. Then Gel your windows with 1/2 CTB to push the blues a little. Then matching your film lights is easy! That is what I would do in your situation, anyways. Best of luck!

Not sure that would create as much of a flicker effect as it would just looking like the bulbs are slowly turning off and on. Even if the speed of the strobing is sped up, the bulbs still take a moment to "ignite."

Typo above- Correction: Kodak's V3 5219 (500T).

This thread is great, as I am in pre-production on a 35mm WWII short which will be shooting early next month. I also will be giving the negative a bleach bypass. David, it's safe to say I could rate Kodak's V1 5219 (500T) at a 320, and meter like I would normally to obtain the underexposure needed when dealing with a BB? How does the extended latitude of this stock affect compensating for a BB, or does it?

Depends on how the image will be magnified in the printing or viewing process, and from what distance it will be viewed at. Obviously, a smaller image created by the lens has to undergo stronger magnification to be viewed. This is why, from the DOF standpoint, it does matter the size of camera a lens of a certain focal length is used. For example, a frame of 35mm has the size of 24×36 mm. To be printed as a typical 30×40 cm (12×16 inches) enlargement, or viewed on a 20" screen, it has to be magnified 12.5 times (depending on the aspect ratio.) For the same print size, an image created on the 2/3" sensor (6.6×8.8 mm) will require a magnification of about 50×. The circle of confusion has to be five times smaller to give a similar perceived sharpness of the projected image.

I'm sitting here praying for Remi to chime in...

I know Xcel Energy owns and operates all the street and road lights in Denver, I'm not sure how you could go about finding out the specifications of the lights, but do take into consideration that the age of the lamp will affect its color temperature. Also, I know they have installed new lights in the past year or two, so I am sure you would find a mixture of different color temps and lamp types. Try giving the Traffic Engineering Services a call to maybe find out a little more technical background on the street lights. The number is 720-865-3150. Best of luck with the shoot! Enjoy the weather for me ;)

"Plus a DI" is the important part of the sentence. That is what pumps up the color, and makes them as saturated and vivid as they appear.

When I was on the set of "Never Back Down" the DP was using pars shooting down to the floor for the club scene, with a few 9 lights in the front above the DJ table, which would blow out the club, because of the haze. He mounted some mirrors on the ceiling, which would bounce some additional light around. Everything was very hard and spotty, the atmosphere really made everything stand out. A few molebeams were used, which they just panned around the club across the floor. You can see the effect in the trailer, maybe it is something you are interested in simulating. http://www.apple.com/trailers/independent/...ckdown/trailer/

Agreed!

I'm sure you already figured it out, but for others here, reverse run is accessible by Speed Control Box, Wireless Remote Control or Arrimotion, on both cameras. Also, on the LT, you cannot reverse run through a Lite mag, it has to be a studio with the LT adapter.

DOF Calculators by www.dofmaster.com

Haha, that was great.

Agreed.

Makes me wish I had an iphone even that much more!

I believe the overall budget was around $2000, but the price of film and stock are not included in that quote, as they were provided for the production.