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J. Lamar King IMPOSTOR

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Everything posted by J. Lamar King IMPOSTOR

  1. The ND just limits the light entering the lens so you can open up the stop and retain your depth of field effects with faster films. The grain in 7218 matches the grain in 7246 fairly well. Look at this thread where I posted some examples; 7218/7246 BTW, I recently realized that the fourth frame grab down in that post (guy with tape on his mouth) was actually shot on Fuji F500. The rest are correct.
  2. I got to check one out recently at a rental house and there is no doubt that for 60i video that camera is killer. However, I almost never need or want to shoot 60i and the CineFrame mode just didn't do it for me. They should've went with true 24p somehow. IMO that makes the camera useless. But other people have other ideas and needs.
  3. Will it be capable of displaying pictures? I've been working on a "How do I load my K-3?/How do I modify my K-3 so it doesn't scratch?" topic with pictures.
  4. You know if I were young, I would give a serious look at places like India and Hong Kong. Those places are set to explode in the near future.
  5. Thanks Kevin, I've looked into that and actually found both a huge silk and a huge bleached muslin. I was just interested to know if some of the other materials might have a better reflective surface and thus need less light to achieve a really bright background.
  6. I've seen a picture of Storaro using one a few years back. Good enough for him = good enough you.
  7. Anybody have any ideas for getting a hold of a giant piece of white backing material. Need it for a music video, needs to be about 20 feet by 30 feet. You know just something to light with cyc strips. Projection screen material would be too expensive. Anybody work with any of the Rosco materials? Could they be fashioned into a screen that size and be stretched? Someone suggested a giant piece of Tyvek billboard sign material. Anyone use that before? I know that stuff could be stretched nice and flat on the stage truss.
  8. You might try calling Glenn Shank at Video Post and Transfer in Dallas. I know he was looking into getting a gate for one of their machines. I don't know if they actually got it though. VP&T web page.
  9. Do they not do critiques in your school? Seems like a lot of schools have removed this process. I had to do it in the college courses I took. The still photography courses were the worst. You had to get up in front of the class and the class, teacher, department head and the Dean would just rip your ass if you brought crap. You had to be able to explain yourself and back up your choices clearly. It's like taking a meat cleaver to the field of candidates, the ones who have "it" will survive. All the house mothers trying to enrich their lives are gone the very next day.
  10. I would most certainly take cars/batteries a couple of invertors, dimmers and several sizes of china balls and bulb types. Also some duvetyne and bounce boards. All this would be augmentation to the candle light.
  11. Maybe Sony will get a hint from this guy with the converted lens mount. In fact I wish all the video companies would pick up on the fact that interchangable lens mounts would be a good thing for everybody.
  12. Lets hope this doesn't turn into another gang up on Phil's negativety thread. Things must be getting better, he's about to shoot some 16mm film! That'll put a smile on his face.
  13. Has he absolutely said no. Because really he might as well be saying no to a lipstick camera mount too. There are mounts that can be mounted to the front wheel bolts and a replacement gas tank cap and they never touch any finished part of the bike.
  14. This has been covered many times before and the short answer is you basically do anything available to you. There is no one way. I hate the fact that you have to ask here rather than the school having helped you out. Getting a job in the film industry is like any other, you have to send out resumes and call people at production companies. keep an eye on trade papers and websites for jobs listed and most importantly go to where the local film people gather to network. This is usually at a group meeting of an organization like MCAI, AIVF etc. and local film/video groups. I spend time every day of the week searching, calling and going to anything that could lead to a job. I send out reels freely, which costs. That's the down side is you have to spend a LOT of time networking/pounding the pavement until you get an agent. In my case I have Dallas and Austin to network in and I travel just to network if the opportunity is ripe. Dallas and Austin don't equal L.A. or N.Y. though and that's another thing to give a hard look at is this industry is mostly concentrated in two locales. That's just a fact. If you really want to mine diamonds Africa is the place to be.
  15. If you're an AC on a future digital shoot and you fear this happening, you could perloin a tape. I'm not telling you to do that but I've heard of producers paying out the camera crew at wrap and the crew suddenly hands them a few tapes they didn't even realize were missing. lol
  16. This page shows the general requirements. http://www.ncarts.edu/ncsaprod/admissions/requirements.asp You pretty much have to dig around on that site a bit to figure it out. Best to call them. You do have to show a portfolio and go through an interview.
  17. If you get those HMI's I don't think you're going to have any trouble. Unless you're trying to light a much too big space but I mean it would have to almost be warehouse big. As for light meters I use the Spectra IVA now and use to have a Sekonic L-508c. You could get by with one of those small Gossen's if you don't want to drop a lot of cash.
  18. With the XL cameras one of the rod rigs that mount a battery and/or weght out back over your shoulder are the best way to go. It balances on a tripod better too.
  19. A few years ago I made my own version of a ring light with the four foot flo tubes. It had sixteen tubes stuck in a wooden ring with holes routed out to accept the ends of the tubes. The tubes formed a cone out front of the lens. I know you can rent one of these rigs somewhere, I don't actually know what they call it though. It's great for getting that soft shadowless light to cover a whole person or two. If you want to move with it though you have to mount it to a dolly with the camera and it then becomes a big freakin' monster to deal with.
  20. I like it for the reason most people that come from still photography like it. It strips the image down to its essence of light and dark values. Sometimes that also helps the emotional meaning of composition and subject become clear. However, I can't say I prefer it over color, because color gives you the additional demension of blue and yellow (cool and warm) which are so important at relating the tone and mood of a picture. It's like (is) having two more demensions of values to play with. Some of my favorite black and white peices are; "Wings of Desire" "Schindler's List" and "Jules et Jim"
  21. I have a problem with all the "Just get a job at a rental house" advice. That is probably harder to do than get a job as DP on a 35mm feature. I tried for many years to get a job at Victor Duncan that later became Panavision Dallas. I only got called for an interview once in like 20 tries and it was, "we might need somebody in a few weeks." I guess they didn't. Even though I am now a DP I would and have PA'd on short gigs if they pay. Just because you're DP doesn't mean you're rich. But it seems lately the more my name is out there it's a little akward doing anything else. At some point you have to be a DP and nothing else. In response to the 'Why does everybody have to be a DP?' comment I wonder just that. Why do so many people want to be DP lately? It seems there is glut of them everywhere. I know there is in Texas. Everybody and there dog buys a camera and becomes a DP. I've lost jobs recently to "L.A." guys who seem to just have an address there but haven't ever even shot a frame of film there. Some of these guys show you a resume as long as your arm and then their reel doesn't live up to it. I would love to be there when these guy's bite off more than they can chew and get on a big effects laden feature or something and then crash and burn.
  22. On my last feature I got stuck in a 10 x 12 foot room in a house. The biggest problem besides the small space was that one wall had three floor to ceiling windows in it. For day scenes the solution pretty much was to light through the windows with a bounce opposite then cheat the mini-blind closed on the window that always wound up in the background of one of the close ups. I closed it just enough not to blow out. Since I didn't have any big lights or HMI's I decided to not fight the room and just use various combinations of open and closed blinds to modify the real sunlight which was pretty good untill about 2:00 in the afternoon. A couple of times I used Kino Flos to carry us into evening and on days when there was no sun. I tried bouncing a light into the ceiling once but it looked so damn flat I actually pushed to(and did) re-shoot the scene I did that in. :unsure: We had a small table lamp and also a light spilling in from a bathroom that we established to motivate the night scenes. The table lamp was always mimicked with a Tweenie, flagged and scrimmed with 216 on the barn doors. The light from the bathroom was another Tweenie either shone direct or bounced off foam core. I then just sneaked in a china ball for fill here and there.
  23. I'm fortunate enough to live near the Kimball art museum in Fort Worth where "The Cardsharps" is hung. Great light in this painting! They also have a couple of Georges de la Tour's works which are similar to Caravaggio.
  24. Or if you're like me, it's factually the ONLY thing you can do. I 100% suck at everything else I've ever tried. Usually because mindless repetition soon bores me. That's why I love cinematography/photography, it's always something new. But David is 100% right though, all artistic careers are feast or famine until you get established.
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