Gregory Almond

Personal preference plays into this. If it is sharp where it needs to be then that is what works. I've seen ACs go down a dolly track foot by foot getting marks, and that works for them. I've seen ACs eye it up and get it right.

We once had art department use chroma green paper to fill the screens rather than using the screens themselves to display. Using a monitor to show green means light is being shown onto your actors, causing spill issues. It would be a good idea to use both green and use a + sign in the middle and L shapes in the corners for tracking simplicity.

You could use a mini-lcd and HD-SDI output on the camera to have multiple monitors, however using the standard Monitor out specifically for the Red-LCD doesn't allow for multiple hookups. In addition you can't use the viewfinder hookup because of the hardware employed is specifically designed to work with the eye piece and not the Red-LCD. A Breakout box will take the HD-SDI signal and allow you to split it to multiple monitors last time i checked, perhaps that will give you what you need. Also, the HDMI port might be useful, however it seems to unplug a bit too easily for my taste. ~G

Attached is my Convergence Angle chart @ 2.5 Ocular Offset. It should help tell you what angle your converging camera has to be at to make the cameras intersect at the same object. I'm currently using this chart with a rig I built for a friends project to be partially shot in 3d. It looks like the most extreme angles only occur when the object being focused on is less than 4 feet away from the subject, once you bridge that distance, the angle becomes fractions of itself. Also note, it will never reach 90 degrees, so at far enough away, you don't really need to change the camera angle at all. This chart is based off of the inverse Tangent of a Triangle, where the Angle is found by ATAN(Distance From Subject in feet/Ocular Distance in feet) * 57.2957795 (Converts Radians into Degrees.)

Hey Guys, Things have been slowing down a bit, and I've been looking for work for a while. So I thought i'd give throwing my resume on here a chance. If you take a look at it, please give me feedback. Thanks, Greg Almond

I'm aware that D-96 is the standard film developer for Kodak BW films. I just can't seem to find any place that sells it. I guess i probably will have to contact a sales rep from Kodak, However i can readily find d-76. Thats why i am asking.

You might be able to find some indie exhibitiors that project 16mm, However for Widespread release 16 is blown up to 35, or made digital for projection. I've always read that most often when they blow it up there has to be some clipping that occurs, if you call up your printer i'm sure they would explain the process far better than I.

As to ND filter ratings. The majority of ones i've seen are rated with decimals, .3 .6 .9, 1 stop loss, 2 stop loss, 3 stop loss. Correct me if i'm wrong. Is 2, 4, and 8, 1/2 light, 1/4 light, 1/8 light, thus being 1stop, 2 stop, 3 stop. Eastman Double-X (7222) has a reciprocity rating from 1/10000s to 1second, once it goes beyond that compensation by adding time to the exposure is necessary. IE, if my exposure was 10seconds, i would have to add 3 seconds onto the exposure time in order to compensate for reciprocity failure. However, i have been told that different films have different reciprocity ratings. I imagine because Motion picture cameras rarely go beyond this exposure time they don't bother researching beyond it. David, do you have any stills from projects you have shot with so much glass infront of the film? I'm curious to see how it turned out.

I'm expecting to have to expose 7222 beyond 1 second. How do i determine it's reciprocity for it. I've looked everywhere, however i can't find the model for this film. What is the formula for reciprocity law failure?

So say i have 3 foot lengths of 16mm film i wanted to hand process, Kodak 7222, I can use the d-76 developer for this film? Is there anything that i would have to compensate for, or will my standard Darkroom chemistry work?

I went onto wikipedia and it said that infrared was 750nm - 1mm in wavelength, and the filmstocks had a sensitivity from 400nm to slightly>650nm, so that would mean the light is beyond the films capacity to expose. Is this correct?

How sensitive is Kodak Plus-X or Double-X film to infrared light? I assume they are low in sensitivity, however a project i am working on could possibly require infrared lighting and i want to make sure if necessary i am to compensate. ~G

I don't go to a School that is willing to be honest when they critique, so i was hoping i could get some from everyone here. This reel focuses on my progress as a DP. Petals: Shot with an LTR, with Kodak Vision2 500t and 200t Ballad of Pike and Steve : Shot with LTR & JVC HD100; Film : Kodak Vision2 500t, Conan Commercial Contest : Shot with JVC HD100 Repstage Commercial Series : Shot HVX200, 720p24pn El Presidente : DVX100 @ 24p & JVC HD100 Thanks! Gregory Almond

I've been looking around and can't seem to find too much information about shooting day for night scenes. I was wondering if i could get some suggestions, especially for shooting B&W negative, about the processes you go through to get this effect. Thanks! ~G

The more i look at everything, the more i would say the best school to go to for you is where you are at, on the set working. Experience is the better school. Gregory Almond

As a current film student, Albeit not at a prominent film school, I would definitely recommend it. Schools have equipment, and connections. At my school, the teachers are not the best, but that also forces me to do my own learning and experimenting. But among all of those things, the most important thing is to be around other people. It is invaluable. Think of it in a sense of six degrees of separation, people know people. On top of that, being an effective film student will show off to others what you are capable of. Getting that recognition from the staff is wholly important, because often they can give good words to others. For instance i have my internship at a Grip and Gaff rental shop where the Owner gaffs for many different productions within our area. Plus if i so desire to eventually join the Union, the costs are less if i am working here. So think of it as a Domino effect, while directly film school is not the end all be all, giver of secure future, it is an aide for that networking that can be difficult. Personally, i am terrible at networking, because i feel awkward about asking people for help getting work, however my instructors have graciously given me opportunities i know i would never dream of having if i hadn't gone to school. Gregory Almond ~ Oh, and i also agree absolutely with Miguel, it isn't about the degree. Develop a good reel, that can be done at school, Just don't count solely on your senior project to get you revered in the film business, thats why they recommend to just write a script.

ah, i see. Thank you very much Greg Almond

yes, but the door is still in the way of the battery hooking into the minima.

Thank you all very much, this means we can be in the black. Thanks again Greg Almond

I am mid production and there has been a huge communication breakdown about budget. We are sending our color negative film to Color-lab for processing. Is it necessary to make a positive workprint to be telecined? or can they invert the negative during telecine? Thanks very much Greg Almond

How do you remove the battery door in order to attach the clip on battery for the a-minima, or have i been doing it wrong and it goes somewhere else? thanks in advance Greg

Much appreciated, do you know the best place where i might be able to purchase these?

I have a set of Carl Zeiss super16 primes, 9.5 12 16 & 25 mm I have been trying to get a lens hood to work with it to prevent reflections in the mattebox, (This is all school equipment therefore nothing really matches well together.) There was a set of lens step up rigs, but not a single one fit our lens, and the lens' themselves do not have the ring size of it. So i am trying to figure out what size i need. on the lens, it says: Carl Zeiss NR6170289 (Specific to the 25MM) Distagon 1:1,2 25mm, 16, 12, 9.5 (each one is a specific lens) Thats obviously for our 25, i am trying to get it to fit up to an adapter that i have which is a tiffin 901 retaining ring, it too does not have it's actual size on it. Does anyone know? I unfortunately am at home right now and don't have them in front of me. Thanks in advance Greg Almond

At the moment, i am trying to find some kodak vision 200t film that i can use in my still camera, Am i running a fools errand or is there something that is either it, or near it that will work? I am trying to do daylight exteriors using the tungsten film. Thanks Gregory Almond

I am also curious about this because in a current film project, we are in the middle of getting film tests back from Pak-Lab, (its been an agonizing two weeks.) My intention as is to shoot Tungsten balanced film in Daylight Exteriors, in order to get that muted overcast blue look. Right now the plan is to use the Kodak Vision 200T film, with ND. Unfortunately i am slightly hesitant just because we haven't received our test footage back yet, unfortunately our schedule doesn't permit much more time being used and i am more and more getting forced into making decisions based off of what i know about the film in paper than i do on film. Should i shoot a stop over in order to balance down the hot blues and make them cooler, or shoot at the normal 200ASA for the film? any guidance is much appreciated Gregory Almond