Rich Hibner

Where can you get those filters? I have a Cavision 3x3 matte box.

If you were to put CTB or CTO gel in front of the lens, would this result in all your lights that are 3200k, appear 5600k? Or vice versa with CTO.

when you say "mirror" do you mean an actual mirror?

I'm just a guy working from the bottom up. I had a colleague who I thought was with me for the long run, but turns out, he's going in a different direction. His reasons: He feels we can't make films the way we need to. His reason, because we don't have the "right equipment" to make films or the money. He goes on to say that if we had lots of money we could make films right. We don't have the proper lighting. Now we've only done 1.5 actual shorts...first one was decent. Not too bad, nothing great either. It was the first film we had ever done. Worked on it together. Shot it using some clamp and work lights and a DVX. At first when we finished it, he was pretty satisfied with the final product, now he goes on to say how much it sucked. Second film was all him. He wanted to take full control and I was cool with that. I was there just to help set up the lights. He wrote it and wanted to direct it but it didn't work out to good. It was all too sudden, and there wasn't enough planning on his end. The whole project went down the gutter. It wasn't even a big piece....maybe a 2 min short. After that day he's just been cynical about everything. There's no convincing him that it's much more than just money to get a film done right. It seems he wants every piece he writes to be filmed like it was going to get nominated for an Oscar. Am I wrong to suggest that? For a guy who's never even worked on set, is he right to say we don't have the "right equipment" to make small indie films. What do most small movie sets have when it comes to lighting? Serious question here because maybe I'm optimistic in thinking the lights I've been buying little by little are good enough to work with. Or the equipment I have is "enough" to make a picture worth seeing. Should I just say screw it and venture off on my own? To me he reminds me of the guy that thinks that Nike shoes will make him play sports better. Sorry so long.

I guess I was a bit confusing when I said what are the main essentials a DP needs. Seeing how I'm starting out doing Indie shorts and small time stuff, buying my own stuff, not able to rent stuff...what are good starting essentials be. I have the lights, the stands w/boom arm, small reflector and some CTB gels going to add CTO as well. What would an Indie guy like me might want to add to their kit.

I"m gonna get a 25, 50 and already have a few 100's. That should keep me busy.

I'm building my package little by little and wanted to get the "key essential" tools DP's use on everyday sets. What would you suggest. I've got Gels, Scrims, Tape, Swiss army knife....Just the essentials. That word might be to vague, but if you've got something to add, I'd like to hear it. Or are these the tools a gaffer would need and not a DP.

Thanks man, I appreciate the heads up. I was assuming that most wouldn't put anything directly on the gel anyway.

I remember in your production thread for Jennifer's Body you used a desk lamp for one of your shots.

You diff it straight on the bulb or the shade itself? What diffuser would you recommend?

Thanks David. I got a pack of 100watt practicals and already own some dimmers and think I"ll be using that. I'll go with a variety just to be safe...guess it just depends on your scene and how you want it lit. Thanks for the info.

I'm looking to buy some practicals and wanted to know what's the best wattage...a colleague of mine was saying 15watts is plenty good. You just want to the audience to think that the practical is giving off light so it really doesn't need to be any higher than 15w. Is this true? Should I get a variety?

Ahhh, gotcha...I was just referring to mirror boards in general. Is there a certain brand you would recommend? Thanks.

i must've struck gold with this question.

I was checking these out and wanted to know if they are better or just as good not even the same concept as reflectors. http://www.1st-quality-school-supplies.com/hg-28335.html

okay, but i'm just kind of learning the craft...so i'll still post, but might not be beneficial to the thread.

I ran across this thread and thought why something like this hasn't been done here? I http://www.dvxuser.com/V6/showthread.php?t=144978 I saw a post from David Mullen similar to this, but it died...why not bring it back and sticky it?

not when it's home depot or lowes

http://www.youtube.com/watch?v=IRGSki2ydvw is the setup as easy as it looks when they show the last bit? just direct sunlight? and a bounce?

I don't it will. I think the standard will always be 24p. I hate the look of 30p. 30p is soap opera and anything faster will take away the dramatic look to it. A debate on some other forum with members practically dancing around the idea that 30p will be next gen frame rate for some reason or another.

Who thinks that if the Digital Video trend continues and they start to push 30p that it will ever replade 24p? Anyone? I'm in favor of no, never, but others seem to think differently. Your thoughts? And seasoned pro's who've shot for many years on film, please don't be bias. No offense.

I meant to put that the camera alone I will sell for $1800.00

The camera is in mint condition. Only 65hrs on heads! Im selling it with hard case/2 batteries/All original accessories. For $2085.00 it comes with a 35mm adapter and rails w/nikon 18-55m zoom lens. Rails and adapter can be purchased separately. Im up for trades + cash. Looking for small matte box/sturdy tripod/lav mic wired or wireless. For footage and pics feel free to email or call. This is a great deal to come by. Feel free to contact me for footage and or pics.

The fist part you mentioned I had already thought about. I don't have an SLR camera to determine proper framing...but yeah, good idea. Your second part does sound like a great idea too, I just don't have access to all that stuff...you do. My nieces and nephews are sill young and be pissed if I took their toys to suffice my needs of storyboarding. I have the locations set and since I'm directing it, I have a really good idea how I want the shots...it's just that I want to be bam, bam, bam, on set with the different angles. thanks for the advice man, i'll try next time with some action figures I have saved when I was a kid.

Thanks guys. I'm going to be acting as the director and photographer. I did some shots lists today, but in my own format. Any examples of how one should actually look? I saw one on set a long time ago, but their movie never got made either, so who knows if it was "industry" format. Basically I'm breaking the action part of the story, and when I say action not Michael Bay, but just the detail, and putting the shots under neath each one. Example: INT. HOUSE - NIGHT Mark walks around as he looks for his keys. He glances over at the table across the room as they rest comfortably on a night stand. He makes his way over and picks them up. Mark There you are. This is how my format would look: Mark walks around as he looks for his keys Long shot/Med shot He glances over at the table across the room as they rest comfortably on a night stand. Close up Mark Close up keys on table He makes his way over. Long shot of mark walking over Rack focus behind keys Mark There you are Close up on Mark