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  1. Thank you for your response. You brought up a lot of concerns that I didn't take in to account. I'm not lighting the scene with black lights, yet using them as props for the actors to interact with. My question now is if I use HMIs to light the scene for tungsten balanced film without any form of correction will that help me achieve what I'm after? And as far as exposure, will black lights not read around a 2/2.8?
  2. I'm shooting a party sequence this weekend and my art director has purchased black lights for our actors to hold in the shot. Unfortunately, I don't have the time or budget to shoot camera tests to see the effects of black lights. I'm curious to know if anyone has experience shooting with black lights; how do they read on film, how do they meter, do I need to worry about flicker, etc... I know I could use regular fluorescent bulbs gelled with lavender to mimic the look of black lights, but since these bulbs have been purchased I would like to use them. Helps for all the help in advance!
  3. Greetings! I am shooting a short film in less than 3 weeks and we are hiring a crane operator for one of the scenes. It's an elaborate shot where the crane begins as a wide showcasing the grand carnival then elevates to a balcony overlooking the party on a close up of our main character. Some of the obstacles are a ceiling of stringed lights over the party, time (as everyone doesn't have enough of it), and that fact that it is night exterior. I guess I'm looking for is general advice since this is the first time I'm working with a crane operator. What can I do to help him, What should I not do, What things should I prepare for? Are there safety concerns I should be aware of? How long will a shot like this take? Oh, we are shooting on the Arri 16SR3. This is more for my 1st AC but how does he measure for the focus? And what other advice do you offer to ACs about cranes? Thank you in advance. Respectfully, Cait Rockwell
  4. Thank you to everyone - you guys have been a big help. Tim, I'm a little curious about this Unilux lighting - can you explain that even more? - I went to their website and was really impressed. How does this effect your exposure or does it limit what stocks you can use? I'm really new to strobe lighting - how is it best used? I see that it's great for things that splash - but what about people dancing? How would that change things?
  5. Honesty, get the book. It's well worth it. But in a nutshell... 1) First and foremost - assist the 1st AC. It's your job to take care of the people above you. Get them water, food, whatever they need. The 1st AC should never have to leave the camera, so you become their lifeline. And you should be ready at all times - NEVER SIT DOWN! 2) PAY ATTENTION DURING BLOCKING! Rehearsals are key for a good 2nd AC, because you need to be laying marks. Once marks are down, the 1st AC can then start grabbing preliminary focus marks. 3) Slating. This is so important and bad slates should never happen. Pay attention to what lens you are on - if you're on a wide lens, then you know you can bring the slate in closer. Also, keep your slates professional - I typically use military letters (it helps the editor and makes the script sup happy). 4) Lens and Filters. You need to make sure the lenses and filters are clean and free of dust - at all times. NEVER HAND A 1st AC a dirty lens - bad karma. 5) Camera Reports need to be readable and correct. There is no excuse for bad camera reports. If you need to, recopy the reports at the end of the day - the lab, production office, and DP will praise you for great reports. 6) Film Inventory - DO NOT SCREW THESE UP. If you are off in the slightest bit - you will get fired. So, double check your math and make sure everything is added up correctly. 7) Equipment Forms - You may also be in charge of the equipment forms. Make sure you have every piece of equipment at the end of the day and after every company move. You need to make sure everything is well taken care of. That also means - leave at least one latch secured at all times. I'm only barely touching on all the responsibilities of 2nd AC. Like I said, buy the book. It's really an investment not an expense.
  6. I want to know (and see) what happens when you vary the shutter angle of a camera. Also, if you could really explain your process and whether you would recommend it - that would be great too!
  7. In my experience with the DVX, the best way to get away from the digital look and more toward a filmic look is to use different diffusion filters. I personally like 1/8 Black Pro Mist and 1/4 Black Pro Mist, but really any Soft Effects or Pro Mist Filters will do. Also, I recommend throwing as much of your background out of focus. The best way to do this is to pull your camera as far away from the subject as possible and zoom in. Another note, white balance with a grey card, I also feel this helps the image. And, even after you do all this, don't be afraid to alter the look even more in post. Color Correction offers you many different looks, like desaturating your image. I hope this helps!
  8. You're given a great location, except for it has white walls. How do you deal with lighting it?
  9. Thank you the GlideCam Camcrane 200 would work perfectly. Do you have any idea how much it would cost to rent? -Cait
  10. I'm shooting a short film in a couple months and wanted to look into jib/crane rentals. I have a very small budget and limited shooting time, so I'm looking for a jib/crane that's inexpensive to rent and easy to operate. Does anyone have any information about the ProAm Camera Crane? Or can anyone suggest something better to use?
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