Kevin Curtin

This might be a poorly worded question, so I apologize. I am interested in hearing if anyone has shot a scene at 6 or 12 fps and then in post (not in the lab or processing) been able to play it back at 24 fps and what it looks like, and if there are negative reactions to this, I would really like to hear them. I am really talking about Avid Media Composer.

I'm working on developing a lighting gag simulating cop car lights, you know the red and blue flashing lights. I've been toying around with some ideas, but would love to hear if anyone has done this successfully and how they did it. Preferably something cheap that I can put together myself. Thanks! The situation is that the main character is sitting on her bed when the lights flash through her window, causing her to get up and run out of her room.

So I am admittedly not very knowledgeable when it comes to the history of lenses, so I was wondering what kinds of lenses were the most commonly used during the 1970's and were there any lens innovations that really furthered the technology? Thanks for any help.

I was trying to look up some information on Boogie Nights and some of the techniques and equipment Elswit used while shooting the film. I'm specifically curious as to what film stock and what kind of lenses he used. If anyone has any info about the film or can point me in the right direction, I'd really appreciate it. Thanks.

Yeah that's what I was thinking. There's other options if in case I do need a bit more warmth. Thanks for the input.

I'm shooting a short on 16mm using Vision2 500T. I'm lighting primarily with practicals, with bulbs that are CT 3020K. I'm also using a Mole Kit (300w and 650w) and a Kino Flo 4Bank with tungsten bulbs. I want to use an 81A filter to add that extra warmth, but am afraid it may be too warm. Obviously I'd want to do tests (I'm also considering pushing the film a stop or two, for contrast), but I'm not sure if I will be able to shoot tests. Has anyone shot under these circumstances before? Also, will it make a huge impact on an uncorrected HMI I may use to light the outside? (moonlight)

If you're shooting during so-called "magic hour", you might want to watch Days of Heaven. I'm not really sure if that fits your question though.

I'm from Rochester, pretty much anywhere near or around the Genesee River would work lol. I lived in Philly for a while, there are a couple very very run down urban areas that look like nothing or nobody has been there for years.

I'm looking for some films that were mostly lit using practicals to use as a reference point for an upcoming shoot I'm doing. Any suggestions would be greatly appreciated.

Hey Tom, that first still looks great and looks very similar to something I'm about to shoot (well, at least from one still, I'm lighting primarily with practical lamps + whatever else is needed to fill in the blanks). How did you light that frame if you don't mind me asking?

This was my original thought since it is the most logic answer, but thought I'd try and look a little more. Thanks.

That's a great read, thank you very much. Answers a couple of other questions I had as well.

Hey guys, I had a quick question for all you. I was recently reading up on Eyes Wide Shut after watching the film again for some inspiration (I'm shooting a film coming up and I wanted to watch the scene when they go to Sydney Pollack's party) about how to use practicals to light a 'party' scene. Anyways, I read that Kubrick and his DP (blanking on the name) pushed the film in order to make the lighting look more natural. I know pushing it makes it more grainy and contrasty, but does that in turn make it more natural? Is that simply all it means?