Jason Robert Tompkins

I'll 2nd that. I'm very excited about all of the innovations in HD/2k/4k capture and exhibition, and by the time my feature-length directorial debut comes together it will probably be on one of these formats instead of film, but with the dynamic range being what it is, you can totally tell the source format of things when you're looking at a film print. When I saw Zodiac in theaters, as well done as the photography was, it was clear that the blacks were very crushed, and low light scenes were noisy (is it me, or is the Viper noisier than the Genesis or other HD cameras?), suggesting video capture. Generally, I don't think it's very useful to expect HD to "look and act" like film, quality photography is about understanding the limits and advantages of your tools and maximizing.

Good to know, thanks Josh. We're shooting 1080p on a HVX in a fairly compact one story house, so i'm assuming 10k's will work fine. The point about consistent color through dimming is key, as 1/2 of the shot list is for night interiors. Trivial question, but i'm assuming there's conversion phosphor coating on the lamp to convert UV output? I didn't see any info on their site...

I'm on a short film shoot with some large softlight needs and am wondering is it worth it to get rent two 10k Softsuns instead of less expensive HMI's? My understanding is that the Softsuns have a slightly higher luminous efficacy than HMI's, no green spikes, immediate full power, etc. Anyone who has experience with Softsun's please share your pro's and con's... j

the night interiors by the window are nice. What was the gel pack used for that?