Rick Shepardson

As someone who works with a very limited budget, I figure I might be able to offer some advice. First, please take the following considerations into account. On a narrative/emotional level What type of project is this? I mean, under what circumstances will it be screened? Also, what is the mood of the scene? On a technical level, take a look at the street lights and try to determine what color they burn. If you're planning to use a china bulb as per Mr. Mullens, try and view both the bulb and steetlights together. THe disparity between the two is what's most crucial. If they are vastly different, you may need some color correction gels. Typically, you can get away with higher contrast in wider shots. So, even if you don't have room for a fill light or some sort of bounce in the wide--it may not be much of a problem. Just bring in a bounce or perhaps even another china ball in for the fill on tighter shots. Finally, depending on what transfering process you use, you may or may not get away with using a really fast stock. I would definitly put a dimmer on whatever bulb you use in the china ball--it will make life much easier. Good luck. I'm excited to hear the results.

To some degree, I don't know if hard lighting in the wide shot is something to fret over too much. There is, of course, the issue of consistancy. You don't want it to be overtly obvious that the quality of the light has changed. However, I believe you have some room to play with. A very important thing to consider how the director is planning to use the wide. Is the director planning to use the wide shot or close ups more? If the wide shot is only going to be briefly used to establish geography, there is a degree of danger spending too much time on it. You might have sacrificed time with your close ups in order to create an amazing wide shot that will only be on screen for a few seconds. Time on a set really is a precious commodity. This is especially true if, like me, you're budget is very tight. There is also a psychological factor. When you're looking somone in the face, you're foveal vision usually concentrates on their eyes. When you're looking for someone in a crowded room however, you're more concerned about their general form. This is just my opinion yet, and I'm still just shooting low budget webseries. So, take it with a grain of salt.

That's not a silly question at all, Adrian! I was actually debating if I should allow the rim light to be the light from the lobby, or the flickering light provided by fall off from the beam passing over their heads. I was also considering something similar to the sconces approach. It would definitly add depth to the shot. However, I'm not sure it would be appropriate for the second run movie house I'm going for. It's definitly still and option, though. Thanks for the advice, Rick

Oops, I forgot to post the t-stop and dimensions. I'm finding the specific dimensions of the theater today. It's a small auditorium though, probably no more than 40 feet. As for the T-stop, I would like to go for a 4. However, I'm sure I'll have to open up to a 2.8 or maybe even 2. You're probably right about the the grid cloth. I was thinking grid to maintain the beam. Perhaps a lighter grid, like the 1/2 grid? In the end though, I think you're right. Opal, maybe even hampshire frost will be the best. If only I could find my swatch ring!

Project: music video Format EIOS 7D (iso 500) Greetings, at first I tried to describe my lighting set up in words. However, things got muddled and I figured it might be best to just include a diagram. Please look at both attatchments. One is the lighting diagram I’ve conceived so far. The other is an approximation of the look I’m going for. The skinny of the situation is this: I want to light a theater. It’s a second run theater where the band members are watching a horror movie. The band members enter the theater through a curtain separating the auditorium from the lobby. They walk down the aisle, find some seats, and sit down. I want the room to be dark. The band members’ faces are lit only by light from the screen. The fall off is pretty drastic, allowing the sides of their faces to go almost black. A rim light coming from the lobby will provide some separation for the shadow side. The main problem I forsee is the 2k and 1ks through the 4x4 frame not providing enough light to illuminate the entire auditorium as a screen would. Time is definitely an issue on this set up. It’s very important that I accomplish this with a large key source so I’m not futzing with several small units. If you have any suggestions, please respond. Thank you, rick shepardson.

Thanks Mr. Smith, I actually did find an answer on converting 16:9 to 4:3 there. It's all become an issue of if the client wants to eventually take this to a station that broadcasts in 16:9...that and how many people own 16:9 television sets and what aspect ratio they'll have said set programmed to. Every solution leads to about a billion questions thanks there not being any absolutes anymore Ugh...sometimes I miss the old days when all tvs were squares and only theaters had rectangles.

Okay, this is a dumb question. I'm shooting a project that needs to be fit for a public access station that only broadcasts in 4:3. I've been given the sony pmw-ex 1 to shoot it with. Unfortunately, I have't been given the time to really test everything out. I don't understand the 4:3 option on the sony pmw ex-1. the native format is 16:9. I've been told you can shoot 4:3..however, is the final image actually 4:3? Or, does it produce a 16:9 frame with the sides cropped? I know that there is the 4:3 marker for the display...but that of course only changes the frame guide on the display. I also know about the down convert option that will crop a 16:9 monitor for the 4:3 image...but this still will only effect the display. I've also run through all the Formats (1920/1080, 1440/1080) and this of course, doesn't seem to change anything. I apologize if this is completely moronic. Trust, me, I feel a little stupid for asking the question.

Greetings, I am about to shoot a short on the DVX 100. I am curious if anyone has experience using Cokin's Light Diffusion or Diffusion 1 filter. I understand that I'll need to purchase a filter holder, and perhaps a conversion ring to mount the filter. If possible, does anyone have example frame grabs or video? Experience with the Cokin Black Net filters would be helpful as well. Thanks, rick Shepardson

Greetings, I am about to shoot a short on the DVX 100. I am curious if anyone has experience using Cokin's Light Diffusion or Diffusion 1 filter. I understand that I'll need to purchase a filter holder, and perhaps a conversion ring to mount the filter. If possible, does anyone have example frame grabs or video? Thanks, rick Shepardson

Well....I finally got a big bang that just might trigger a globular cluster which might have a good chance of condencing into a solar disc. Actually, it is a very decent 3 day gig which will perhaps turn into a feature job in the camera department. I am very lucky to have gotten this and in some ways very humbled. Now I'm nervous as hell....hopefully I'll walk the line on this. Thanks to everyone for their advice and encouragement. -rick

This is a very interesting idea. Would he use bluish lights for moonlight? Or, would it primarily be to simulate tungston light in the background? It seems that blue lights would need a lot more power to register. I'm asking because I'm in a similar situation as the original poster. Thanks, Rick

That was a great illustration for "sticking to it." If you're interested in astronomy, you ought to read Cosmos, if you havn't allready. The information may be a bit dated, but the conclusions Carl Sagan draws from them and how those conclusions relate to daily life are timeless. Thanks sir, Rick Shepardson

Thanks to everyone's advice. I've definitely think about luck. I know a prominent local 2nd AC who got his start when he met a DP at a casino. He had no prior interests in film, but got his first camera PA gig when the DP wrote the shooting location on a napkin, handed it to him, and said "here's your new job." He was lucky enough to be in the right place at the right time. At the same time, he was dedicated and quick enough to adapt to such a crazy environment that he's one of the most prolific 600 members in town. I just try not to think of luck too much. I mean, consider the big bang theory: if that tiny little singularity wasn't lucky enough to get banged, the universe would have never of happened. Put in those terms; luck definitely exists, but is cosmically absurd. Thanks again Rick

"If it's mostly financial woes you're suffering, there's no shame in getting a day/temp job, something you can just drop once the next gig comes along. That's what I did early on in my still very young career." That's actually more helpful than you know. Having to apply to the same jobs I strived for so long to get out of is definitly a blow to the face. I've worked alot of crummy jobs; call centers and the such, with the attitude that I'd get out of there at some point. I guess patients is the best friend I have right now. Thanks, Rick Shepardson

Greetings, I'm at my wit's end trying to get a paying job in this industry. Though my aspirations are to one day get into the 600 and become a DP, I'm currently just trying to transition from unpaid volunteer to paid set p.a. So far I've worked two features as camera p.a/video assist, pulled focus for a few commercials, and interned as PA to a production office. All of the people I've worked with have been pleased with my contributions. I've also volunteered on several feature documentaries and other smaller, yet professional TV ventures. I'm currently volunteering at a grip and lighting rental house just to learn about the equipment and make more connections. However, nothing seems to be panning out. I've sent out twelve resumes so just this month. Several of these were submitted through people I've worked with in the past who also happen to work on the show in question. However, I don't really forsee getting hired on any of these shows. Through volunteer work, I have accquired more than enough hours to get into the 480 as Video Assist. However, I'm not sure if I should wait to join until I recieve some kind of paying job. I would really hate to fork over all that money and stilll be unemployed. Also, since my goal is to get into the 600, would it be a waste of time join the 480? At any rate, I feel that my approach must be erroneous in some way. I would happily accept any advice you might offer. I also have two different versions of my resume that I could post if you would have any advice concerning that. Thank you, Rick Shepardson