J. Lamar King IMPOSTOR

14 minutes ago, Simon Gulergun said:

Why so "cheap"? Seems too good to be true. Wish they were all in this price range!

I owned 2 416s actually but agreed. Glad to have made something out of 2020 for someone. SOLD!

I hope all is staying safe throughout the tough times!

Here I have a great condition Arriflex 416 Plus kit available on offers.

Includes:

Arriflex 416 Plus Body
Top Handle
Viewfinder
400 Mags 2x
Cables    
IVS Video Tap
Cases

$7250

Email me at jasonlamarking@gmail.com if interested!

Still available. I’m willing to sell it at a lower price if the offer is right. 

I am selling a Mini viewfinder that is in excellent shape. I sold my Mini but the buyer didn’t need the viewfinder because he already had one for it. 

The viewfinder will include the cable and L bracket. 

Price: $5500

Email: jasonlamarking@gmail.com

So I bought some of the Cree 100w Daylight globes from Home Depot and we tested them today with C300's shooting 23.98. They did not flicker at full brightness and are very punchy for a LED light. I did not have a chance to test them on camera while dimmed but they do have a useful range that they can be dimmed on a hand squeezer. We replaced all the CFL globes in ceiling can lights throughout our picture house with these and shot several Reality TV scenes and they were a perfect mix with our Lite Gear Light Mats set to full daylight and the daylight coming from the windows.

Thanks for the tip Stuart. Just picked up a couple and will test. Anybody else??

Any good recs on a LED globe that could replace a blue dipped photo flood? Looking for something with a screw base that could put out around 250w equivalent daylight that won't flicker. Hopefully it would also be frosted. Anything out there like that?

Guy,

 

That is at least the fourth time you have posted the exact same article. I appreciate the information you are sharing, but perhaps you could just link to it in future, rather than subject us all to a lengthy infomercial

+1

Is it true that if you put 3 or more wire scrims in the light receptacle that it has the potential of popping the bulb - I just was told that something bad would happen if you put three or more wire scrims in there.....

I don't believe that to be true. Maybe some heat could build up and shorten globe life but don't expect it to blow within minutes. I certainly wouldn't let it worry me. There is only so many scrims you can stuff into a lamp and if you need more than that you should change the fixture. Just remember for the next setup.

I'm on a show with one that prepped out of Panavision Woodland Hills. There have been a couple of strange things that have happened with the camera but I won't go into it because I don't know enough about them. The DP is shooting at 800iso but metering for 640 because tests suggested that the camera wasn't quite 800. We've been setting keys around a 2/2.8 split and fill around a 1.4. I tend to agree with him, the camera maybe doesn't dig as well into the low lights as you would think. It's just a general impression on set and maybe we're splitting hairs but it's informative to try to nail things down as exact as possible with a new camera.

The images look good so far but I really want to see graded material on a large monitor before making a call. Certainly the camera has out grown it's physical format. That handi-cam setup is lame, truthfully.

I think Hollywood has a producer problem really. There aren't any David O. Selznick's around these days.

I know most lights over 2K have this plug, my question is what do you plug it into? Generators make enough power, but it seems they only have normal sockets on them. Is this where an electrician comes in?

Small generators typically have normal sockets on them. They can be had with a 60amp bates installed. Large generators are typically going to have cam-lock connectors for your feeder lines which terminate at a distro box where you can get bates power.

There are several key things that I have a problem with in this situation.

1. The Gaffer simply wasn't qualified.

2. What use was the gaffer if he was manning a condor all night?

3. Why was anybody even in it? You can control it from the ground quite easily.

4. Why was there no Key Grip? Using a condor automatically calls for at least a Gaffer, an electrician trained in the safe use of a condor, a qualified Key Grip and his grip. None of these people come at student rates.

5. The "Gaffer" should have noted the above and suggested alternatives such as a "poor mans condor" (8x Ultra or silver lame on two Mombos with a 12/18K bounced in it) or an Avenger stand. Both of these are still a handful and risky without qualified crew.

6. You shouldn't be anywhere near ANY lines on poles! You don't know what they are!

7. Students are just that. Condors, large lighting units and large rigs are really a no no on student productions.

Sounds to me like no one bothered to talk to this poor fellow because they are going to blame him and I can't say that they are necessarily wrong.

You can use them lots of ways. Some of the common ones are to bounce back the sun as a kicker in a front/side lit situation or bounce the sun back as Key in a back lit situation. It's common to send it through a 4x frame of Hi-lite or the like to soften it up. You can also knock it down with a net. The soft side from a ways back works great on men just like it is. The problems you can run into are the changing sun angle and the area it lights up is actually kind of small.

I use them most often to push light into dark holes like car interiors, tunnels, entry ways, tents, bridges, overhangs, car ports etc.

Actually I think 5285 was closer to a stills film that was known as EPP 100D if I remember right. E100 was a very similar film but popped blues and greens better. I love those Super 8 examples above but they really don't show what the film can do with a modern S16 or 35mm camera and a good transfer.

Re: The guy in the video earlier. You can smell a hack a mile away if they say "With film, it's a little hard to know what you're getting..." Do you know what you're getting? I sure as hell do. I bet Conrad Hall was surprised every day he looked at dailies, 'My God, I had no idea it would turn out like that!' Not one bit of it is guess work. That poop doesn't hold with me.

"Fuji is a colder looking film than Kodak. It's in a green box."

"Kodak is warmer looking film than Fuji. It's in a yellow box."

Me to 5D wielding "DP" who is spinning his ISO wheel happily between speed extremes..."We just set that light, hasn't been focused or diffed and I have these things called scrims." 5D wielding "DP" to me, "No, it's alright I can just change the ISO and aperture with the 5D. It will match, no problem." Me to myself, "Can I go home then?"

Last weekend I worked with the Alexa for the first time. My eye kept telling me 300w here and I wound up with heavy diff and two scrims in all the time! Takes a bit to adjust sometimes.

I also had a setup that I wished I photographed. I had set up a blade flag to cut light from a 4x4 Kino off the back wall but the Alexa just digs into low lights so much that we wound up clipping a double, a single and an 18x24 flag to the blade to have shape to the light. Sometimes it looks ridiculous but makes more since because you are in a small room. We were in a small Hollywood apartment and having everything C-stands would really crowd things.

David,

 

What would be the advantage of using the Joker in a Source 4 configuration rather than a standard arri 575 or a 1200 hmi par with barndoors narrowed? I am assuming the joker is going to give a sharper cut and more defined slash, but is there any special reason why you would choose one over another for the specific use of creating slashes of sunlight?

It's about control. With the JoLekos, you get a punchy, focused, daylight source that you can make hard or soft cuts with and even use gobos if you wanted.

Alexas may not reach the numbers of RED's that are made but I bet they will be used on more mainstream big budget TV and film projects than RED will ever be. Reason? Producers have always had existing deals with these companies and their rental agents. Some shows are Panavision others are Arri. Basically none are RED and I suspect they never will be. It will be Genesis or Alexa.

Way too hard, but...

Movie:

The Searchers

The Natural

There Will be Blood

Director:

Alfred Hitchcock

John Ford

Vincent Minelli

Cinematographers:

Robert Hauser

Robert Richardson

Caleb Deschanel

Favorite Quote:

John Wayne as Ethan Edwards in The Searchers: "Injun will chase a thing till he thinks he's chased it enough. Then he quits. Same way when he runs. Seems like he never learns there's such a thing as a critter that'll just keep comin' on. So we'll find 'em in the end, I promise you. We'll find 'em. Just as sure as the turnin' of the earth."

That line is so loaded with what the character and film are about. Revenge, single mindedness and racism. It was deep, black and felt scary as was There Will be Blood.

Sorry if that sounds a bit aggressive. I'm just trying to make a point that I think we all have an opinion on when digital images are acceptable. Some are good to go now others don't think it's ready.

I own two Arris (a 16BL and an 35BL) and I feel confident enough in film's future to have had both of these cameras rebuilt

by Axel Broda. But when I saw APOCALYPTO in a theatre several years ago, I was so stunned to see the Panavision Genesis

logo in the end credits, that I could barely get out of my seat. I literally had assumed I was watching a picture shot

on 35mm. That was the moment I experienced cognitive dissonance - it caused me to re-assess everything I had assumed

about film vs. video.

 

 

-Jerry Murrel

Little Rock, AR

IMO, Apocalypto had scenes that looked like complete ass. Like TV news from the 80's. Never fooled me into thinking it was film and I don't think Semler cared either way. Obviously the camera was "good enough" for him. The tipping point I think has come by the way of cameras (Red MX and Alexa) that have a "good enough" image to a large number of DP's and producers...finally. I think technology has reached a point where digital images are an acceptable alternative to film. I believe the next generation of digital cameras will make such a huge impact on film that we might loose it just because the companies that make film and film labs are not prepared for the shift. Companies can't seem to scale back, they just cut and run.

I don't think any serious cinematographer ultimately cares if the camera is film or digital. Cinematographers have just been screaming for years that digital cameras need to meet certain standards of quality and usability. These standards have only just been met and that's why digital has been having a serious impact lately.

 

BTW, the long version of "Caravaggio" is much better than the short version released briefly in the states. Unfortunately the DVD is 4x3 letterboxed, not anamorphic widescreen, but is in the correct 2:1 aspect ratio, unlike most of the DVD release's of the Univisium movies that Storaro actually framed for 2:1.

I saw this at the Aero in Santa Monica with Storaro present. Is this version longer than what was shown there? I would like to see it again.