Dennis Hingsberg

^ I tried to update my original post with more details but for some reason can't edit any of my posts on this forum. Maybe because I am new here. Cheers

Thanks for the replies, so the photo taken is camera A position with the talent standing around that brown table facing camera. So directly behind the talent, almost dead centre in the photo where you see left cupboard above the fridge, is where I would want to put a kino backlighting the subject.

Hi Mark, thanks for your reply. Here is a location photo.

Does anyone have any good recommendations to mount a kino 4ft in a finished kitchen ceiling? It's quite wide, 40-50 ft wide probably? thanks,

look at her eyes in frame 0:37

Thanks for posting that, interesting.

One thing I always noticed about the lighting on the TV show Lost, was the really nice catch lights on practically all shots on the exteriors. Any thoughts if on the show these were just close by to actors off camera, or were these perhaps very large sources placed much further away using more powerful lights? http://cdn23.us2.fansshare.com/celebrity/photos/iansomerhalder/ian-somerhalder-in-lost-tv-series-lost-4050298.jpg http://gallery.lost-source.com/albums/Season2/Photos/EpisodeStills/2x09-WhatKateDid/Lost_EpisodeStills_Season2_2x09_WhatKateDid_006.jpg

Once you work in ACES color space, the Sony 3D LUTs, and even other 3rd party LUTs (impulz, etc..) are expecting a different color space (usually for Sony s-gamut or s-gamut3) so of course the results end up being wonky. I do find working under ACES space in Resolve gives you a great point for starting a grade manually, but still occasionally feel torn between YRGB (non-ACES) with 3D LUT support vs straight up ACES without 3D LUT support. I don't think anything you've noticed is abnormal. Hope this helps Mark, Cheers,

If you still need this, let me know. I have backups, PC and MAC v9 lite and full.

Hi guys, there is a pretty good deal/group buy going on right now which ends Dec 7th for a CineGears wireless follow focus transmitter and receiver, along with REC triggering and a few other bits. One nice thing with the CineGears unit is the RX is built right into the motor assembly unit so there is no separate box, its great for gimbal or even other types of operation or setups. I have no connection to CineGears, but I am putting my name on the list. To get the deal you need to sign up on REDUSER.net : http://www.reduser.net/forum/showthread.php?124956-GROUP-BUY-Cinegears-Wireless-Follow-Focus-Christmas-Special!&highlight=group

I don't think there is really a standard distance but having said that, the wider the distance the more stability you can get and less chance for it to topple over which has happened with many users of the Dana Dolly or similar designs. I noticed you are in Montreal and saw the F55 on your website? Do you shoot with one? I am in the Toronto area and have had my F55 for about a year now... great camera.

Turns out that according to Sony, ProRes will only be available in HD/2K. They will use XAVC as their preferred codec for 4K on the F55 camera.

My own testing continues, Today I bounced a 575w 19 degree Source 4 on 4x4 bleached muslin at about a 45 degree angle from 6 feet away. At 7 feet from the muslin I measured 15 foot-candles. The direct light hitting the muslin measured 1920 foot-candles. This is equivalent to 7 stops of light loss. 15 foot-candles is enough to give you between f2 and f4 if shooting between 800 and 1250 ISO. Anyone else feel these values are accurate?

Thanks Daniel., Looks like a great fabric shootout that gives some idea of the exposure differences between fabrics. I was hoping for some data on bounce, but shoot through is also good to have. I'll have to ask them what f/stop they shot with and if any ND's. It would reveal a lot more about the photometric data and more specifically the loss of light transmission from the light source itself to the subject.

I'm on a super budget and will need to carefully select the lights I will be renting for an upcoming film shoot. The scenes take place in a dark no-natural light location so I plan to create some light shafts coming in through some background windows using hazer and tight focused light beams, then use muslin (or possibly other bounce or shoot-through) as a soft key. What I'm wondering is what kind of photometrics I can expect from bouncing into the muslin depending on what lights I decide to go with? Obviously distance is a factor, but I'm looking for even some approximations so I know where to start. The rest I can scrim down, dim, or use distance to help me get to where I want to be. Anyone have any footcandle approximations using a 2k tungsten or 575w HMI, or 1.2kW HMI at 10, 20 or 30 feet away? bounced or shoot-through? Cheers, thanks,

I too very much enjoyed the look of the X-files, and the camera moves. Is there a lot of behind the scenes on the DVD's that goes into the lighting, etc.. ? Would love to see some of that...

Thought anyone interested in the F3 might be interested in this website which keeps track of all completed productions that used the Sony F3, along with live feeds and up to date news. Check it out! www.ShotOnF3.com You can submit your own material to it as well if you like.

Was the footage shot in regular mode or frame mode on the Canon? What is final format standard is required by the client, PAL or NTSC? Also, is the client interested in a 24P film like look, or is interlaced video fine? I have extensive experience using PAL in an NTSC standard country since I've been using it to shoot films but then having to convert it to NTSC with the least amount (or none) artifacts being introduced.