Cory Dross

I am a HUGE fan of the light. I don't think it's to big, since I carry so much around with me. I don't like the zipper though, I would keep it unzipped all the time it's an extra step and sometimes you need the extra 2 seconds! I am in love with the magnet idea but that wouldn't work well for transport - I feel like it would come undone in my set bag. Maybe a magnet for set use and keep the zipper for transport? I may have glanced to quickly but there should be some type of carabiner or something that will let you attach a tape roll. Keep it black!

I find most times I'm using opal or light grid. Kino's have an interesting harsh/soft kick to them, which I find can be a little unnatural. But, for adding to fluorescent sources or adding more daylight, I think sometimes it looks more natural without the diffusion.

Just what I was looking for, thanks!

When shooting 24p Advanced, then capturing in FCP using the 24p Advanced Pulldown removal and editing on a 24p timeline what do I set the sound recorder timecode to? It is a Sound Devices 702T, and I have the option to record at 23.976, 24, 25 29.97, 29.97DF, 30 and 30DF. When I rented it there was a piece of paper that said when shooting at 24p on DVX, chose 29.97 and 30 when syncing with film, but if I do Advanced Pulldown Removal and edit on a 24p timeline wouldn't I chose 23.976? Thanks, Cory

When shooting 24p Advanced, then capturing in FCP using the 24p Advanced Pulldown removal and editing on a 24p timeline what do I set the sound recorder timecode to? It is a Sound Devices 702T, and I have the option to record at 23.976, 24, 25 29.97, 29.97DF, 30 and 30DF. When I rented it there was a piece of paper that said when shooting at 24p on DVX, chose 29.97 and 30 when syncing with film, but if I do Advanced Pulldown Removal and edit on a 24p timeline wouldn't I chose 23.976? Thanks, Cory

Thanks, The director and I have a pretty clear idea of how we want the colors to look and I can achieve it trough manipulating the scene files on a DVX100B with a Letus 35Extreme as well as how I light the set, but I don't think when it goes to color correction anything will be able to be done beside general fixes. Where as if I shoot everything flat and have someone in post try to achieve the same look, probably in Color or After Effects, will it be of similar quality or less because of the compression of NTSC DV? The answer to that question will bring me to two more questions,. Is it more common to get what you want in camera and set lighting and limit your latitude to change things in post, or to shoot flat and sacrifice quality for the ability to fix the unexpected or change everything if so desired. Also, if you do lose quality in post do to 4:1:1, when I am shooting on a camera that does 4:4:4 or 4:2:2 is it then better to leave everything to post because of my increased information within the files?

Is it better to achieve whatever look I am going for in camera settings or to shoot flat and do everything in post?