David Rakoczy

Did I say Vivid 120t???? Sheeesh.. I meant Vivid 160t.... man, I gotta shoot more of that stuff!.. sorry Fuji!

I would have guessed 40mm and 150 degrees. Thanks Michael.

Why would you underexpose 500t 2 stops? That seems very, very risky to me. Something I would never do!.. unless I was push processing. Yes, you can 'under-light' people and things but that is not under-'exposing'. I shoot predominately Super 16mm and never go faster than 200t.... I use Kodak 100t and 200t... and Fuji 120t Vivid. I prefer to push 200t one to one and a half stops than roll that grainy 500 stuff any day but that is just me. I prefer a 'cleaner' 35mm looking Image (unless the project calls for a very Grainy look, then of course, 500t or Tri-X etc.. is the way to go). Be careful not to confuse under-lighting with under-exposing... you'll get vastly different results from each! The latter may leave you completely in the DARK. I recommend the book Film Lighting by Malkiewicz.

I doubt Shellac will work for you. It is great for micro thin sheets of Silver Leaf... but for a solid piece/ gel, held in place.. you are probably looking at a glue.

As far as Camera Filters are concerned I would think a White Promist may head you in the direction you want to go. That or Low Cons. Why are you reluctant to use NDs?... I use them on my S16 Package every shoot to lessen the DOF. I have never felt reluctant to shoot through one, two or more NDs/ Pola combos.

When I used to re-skin with Silver Leaf, we would use Shellac.. let it dry to a tacky state then skin one careful sheet at a time. I have no clue what you skinning yours with(?).. or if any type of 'glue' will prevent you from getting it back to original working order. What are you using and why is it better than Silver Leaf for you?

Will, It took me a bit of work to decipher your points... after a while... it read like poetry. Sincerely. I specifically liked line #5 "Which was processed using chemicals (and much more digitals) inbetween the shooting and presenting?"... Man that is brilliant! So true! The 'marriage' of Film & Digitals is always better that the 'separation' of Film & Digitals. Hell.. I could not survive without 1s and 0s... but I don't want Film given up either... esp when it comes to Acquisition. I'll take Dye Clouds over 1s and 0s any day... until the 1s and 0s surpass the Dye Clouds in a [Filmic, Cinematic] way.

www.Mandy.com

I see you have 'Videographer' under your signature... why not 'Cinematographer'? (that was a redundant question... no need to answer). Obviously, terms have meaning. Forgive me for leaving this never ending debate.. I have to Film today...

No offense taken Justin :) . We can only offer our opinions.. and respect each other's right to disagree... I see both sides of the argument and you do make a point. I just feel the term has been bastardized... oh well.. much worse things are happening as we speak... I do know this, if Film was trying to emulate Tape, and I was shooting Film (8,16 or 35) I would NOT be saying "I am going to Tape a Commercial this weekend"... or "Hey.. while Taping this weekend we... etc... you get the point...

mmmm... let's see... Film is ALL I shoot... though I have plenty of F900 and Varicam experience.. as well as plain old ' SD video'. Owning my own SR2 Package, I do shoot a ton of S16 (because I refuse at this point to go with 1s and 0s) ... and have shot tons of 35mm and Super 35mm including Features etc.... and consider myself a Professional, and yet, still have a problem with the bastardization of the term 'Filmmaker'. I guess I am an anomaly. A Show shot Digital is a 'Digi-Feature'... or 'Movie'... yes.. but a 'Film'.. no not really... not unless there is 'Film' involved. But hey.. that is just my opinion. See Custard's Last Stand!

It's easy to set up on video with a monitor, with film it's matter of waiting until you're scared that you won't get anything, since nothing is registering on the meter. - qoute - Amen Brian! and Amen John! You guys should be charging for this stuff!!!

That is not what I meant (see above again). I would use 1/2 Blue on the DARK Fill Side... if and where NO Lantern or Candle is illuminating... and not in all cases... but where appropriate. I use very little.. but usually it is there 2 1/2 - 3 1/2 stops under. As far as your Master goes you can only get what you can get with what you have... consider shooting that at 'Magic Light' just after Sunset... but when you go in, don't be afraid to start moving Lights and cheating their direction. Have a bunch of extra Lanterns on C-Stands ready to be brought in... you could wrap one in 1/2 Blue for use when you have that dark dark Fill. Lucky for you you will be Lighting via a monitor so you will always know what you are getting and how to adjust it.. it is much different than flying blind and trusting your Meters only as in Film... I LOVE that excitement! Good Luck.

My concern is that I won't be able to motivate a source when I go in for closeups in the middle of the field. Why is that? You sure can.. it is done every day. If there is a Chine Lantern to the right of someone's head (even deep in the background) simply 'cheat' a soft source to your (Camera) right and 'Wrap' that 'supposed' Lantern Light. Make sure the 'cheated' source has the same color temp as the Lantern and you are good to go. This is how Lighting is done. We 'cheat' sources all the time... you have that license... use it. Say you are shooting in a Bar and there is a Green Neon Sign to the right of the Talent you are doing a close up on.. you can stage a Light with a matching Green Gel Package (as it may take several sheets to match it exactly) to your (Camera) right and use that Light as a BackLight, Kicker, Side Light and almost front 3/4 depending how far you want to push the 'cheat'. I would also recommend using 1/2 CTBlue on your Fill.. certainly you can use a warm Fill.. motivated by all the Lanterns and Candles, however, I, personally, would use a bit of 1/2 Blue in my darker Fill Areas to give a bit more color contrast and 'Night' feel. But that is just me...

(cont'd) If you are going to 'work' your way up I recommend working as a Electrician or Grip as LIGHTING is omni important! I never Loaded a Mag or pulled Focus until I bought my own Camera.. I had shot 4 Features for HBO and never Loaded a Mag or worked a day in the Camera Dept.. My first job in the Camera Dept. was DP! Knowing Lenses, Filters and Lighting are the keys to what you need to know and it is very difficult to learn Lighting while being a Loader or 2nd Camera Asst... if you want to be a DP, you don't want to be one of those Focus Pullers who now wants to DP but can only shoot when his Gaffer is available as his Gaffer is the one 'really' doing his/her Lighting. Not good!

Not at all.. the best education (I feel) is on the job training. Many come out of Film School and have to start by filling coolers with cold drinks as a Production Assistant then work their way from the bottom up. I, personally, did not enjoy 'class room' education so I moved to Hollywood and joined the circus we call 'the Biz'. I worked my from an apprentice to Vilmos Zigmond's Production Company.. through Rental Houses.. as a Grip & Electrician... to Best Boy in each.. to Key Grip, Gaffer.. then started shooting UCLA and USC Student Films shot on Panavision.. and built my Reel until finally landing real DP work. Now, a 'formal' education can definitely help especially in meeting and developing relationships with upcoming Directors, Producers etc.. I would not have changed my route as working with Vilmos, Lazlo Kovacs, Jordon Cronenweth, Michael Chapman, Haskell Wexler, Caleb Deschanel etc... was amazing.. I learned SO MUCH watching these Masters Light and Frame. No matter which way you go, there is nothing better than simply exposing , exposing, exposing... shoot, shoot, shoot and get on as many sets as you can. I used to get up at 4am and go to the Lab and view the Dailies coming off. It was VERY instructional to watch the raw Dailies from big Shows such as Independence Day. I did this for one month straight and It really helped me a lot! befriend a Colorist! Take them out to dinner.. as ooften as you can.. see if you can sit in on an unsupervised Transfer Session...

Maybe shoot a gray card too dark so they time it accordingly. Any ideas? That will do the opposite. When the Colorist/ Timer brings up your Gray Card they will bring that to "Normal' and since you are underexposing the Gray Card they will Brighten it and all the rest of the following footage as well. You are better off exposing the Gray Card (Normally) the Lighting and exposing the rest the [way you want it to look]. That is what Gray Cards & Color Charts are for. They say "Hey STOP! This is Normal.. after this what you see is what I painted".

One more bit of advice. Provided you have a good Crew (Electric & Grip).. don't be so concerned with telling them all the details. For example, having Gaffed for a long time, when I began DPing, it took me even longer to stop saying things like "Give me a 10k to my right.. right here exactly.. and punch it through a 4x4 216.. no make that 250.. then cut it off that wall with a Floppy and the floor with a meat-ax"... to just saying "I think we need a bit more Softlight coming from Camera Right.. but not illuminating the wall and floor.. let those stay dark". Once they have set that up and I can see it I might say.. "can you make it a bit Softer" (for example). Oftentimes a good gaffer will give you what you want in a different manner and it is a great learning experience to see the many ways to the same goal. Making that transition was very difficult for me, and I still work on that to this day. The idea is not to get lost in the details to the extent you have lost the 'feeling' of the Shot. I believe that is what Serge was touching upon in the second part of his post. Of course, when working with a new Crew or an inexperienced Crew.. I will tell them what I want in great detail and I am glad I have the ability/ experience to do so.

J.D. - maybe they want you to do Craft Service as well :huh: Hope all is well with you.

The sheer Fact that Film does have so much Latitude means you have to work that much harder to carve out and define your Lighting.... "leaving you loads of room for error"... a fact most Video Shooters overlook.

Good Man! Enjoy your tests and Shoot!

Today's stock has so much latitude that there is loads of room for error. - Quote ya.. it's super easy.. anyone can do it... :o Unbelievable!

Mr. Mullen's book is great no doubt... I have not read it but just ordered a copy as if I get one thing out of it, it is well worth the price.... What I HIGHLY recommend for you is FILM LIGHTING by MALKIEWICZ. This book is fantastic!!! Loaded with Examples and Diagrams. This book will give you all the confidence you need to get in there and Light. It also has a running commentary by the Masters. A MUST! Now, 'Pros' often take this bit of advice the wrong way and I hope they can see what I am referring to as I really don't want to spend a lot of time defending the simplicity of the coming statement. I worked for a great Gaffer named Lee Heckler (Heaven's Gate and much much more) who Gaffed for Vilmos and the rest. One day (early in my career) I asked Lee 'How do I Light?' as if there was one simple answer... he made a great statement... "Well... turn on a Light, start moving it around.. now you're Lighting". Yes, we should pre-visualize a scene and transfer that vision into Light Values and expose those values onto emulsion. But there is a truth to what Lee told me (though it frustrated me at the time) .. and the once or twice I was stuck (early in my career).. his advice got me out of the jam.