George Leon

Hi J, Check these. Also check in my site iPhone/iPOD apps for lighting/gels and DOF and more! Check http://www.premier-lighting.com/sales/soft...CFRwwawodjSoxRg http://www.luxart.com/products.htm http://www.mckernon.com/ http://www.cast-soft.com/cast/software/home.jsp Happy Plotting!

Hi Yashad: HMI's are daylight sources, meaning K5600. Hydrargyrum Medium-arc Iodide, is a metal-halide HID high intensity gas discharge medium arc-length lamp, They are ballasted sources with high output. I use HMI's ONLY to illuminate daylight scenes on daylight, (funny eh!) or exterior thru interior (window). Also, HMI's are the most expensive and reticent luminaires to use. You need power, I also recommend an experienced gaffer, maybe a generator or a separate 120V 10 amp circuit source per fixture of juice from your house, so you won't black out your neighboorhood! You said your are shooting with Vision2 200T or 500T - and your lighting kit is a 3200K Frenel kit with 2 1k', 2 650wtts and 2 300Wtts. It is pretty good for key fill and kickers,just distributed it accordingly-make a lighting plot- ahead of time so you won't be guessing placement and juice sourcing. You have here more than 1250 Watts of Output powers. Plenty light to make people dance. Your fixtures match your film stock temperature, so your color will be crisp with natural skin tones. NO warming here. Just normal skin tone colors from Kodak. To warm your scene without affecting skin tone too much use Lee Bastard Amber 162/774/009 1/4+/-or the warming gel of your choice. These Amber or Straw CT gels render a beautiful subtle color to the scene. I will advise you to use One 1k as your moonlight. Bounce it high above in a foam core or butterfly and gel it with CTB and color blue gel until you get a subtle moonlight like color. My moonlights are white, rather warm. I do not subscribe to blue nights. Have you ever seen a blue night. Only in movies! I will advise you also to use the China Balls as practicals/atmosphere illumination only. Unless you change the 2700K flourescents to incandescents 200watts G&E or You can buy CFL flourescents bulbs rated daylight G&E 5600K at home Depot G for few dollars. At any rate consider the china balls as practicals and ambient/crowd illumination. Forget about that minus green stuff you said. It is unconsequential- Use the rest of the Lighting Kit accordingly as your lighting plot suggests to illuminate your artist and scene. Bounce some fixtures for fill light and other use other fixtures shine straight in a high stand for key and kickers See you in MTV or VH 1!

Premiere Elements with Windows XP and a two processor CPU and at least 500G of space and scratch disk does very good! Even better with an external HD for scratch. It flyes! It brings almost eveything to make a great edit HD or SD. fewer timelines, , fewer video effects but you can even can color correct your video, couple of sound effects, all transitions needed, titles, rendering, write to DVD to tape, to flash, to you tube and more... Actually it is not the program capability but is your ability as editor/colorist to make it excell. I have have use it for professional (paid) editing jobs,. None knows any difference from Final Cut or Avid. So, load it in your computer and start rolling in dough.

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NO it is NOT true. Incidents meters are the most trusted tool to a cinematographer. Just learn how to use it properly and that is it. Simple straighforward reading. It works beautifully! Overexposed or underexposed images are just result of the ineptitude of the cameraman. NO excuses here! The Zone System was developed by Ansel Adams while doing his still photography and most importantly his ZONE system in chemical development and printing in black and white photography. So, forget about Zone System here. Remember these an you will become succesful: Motion pictures is an organic process carried out by gathering a storyline, directorial vision and Lighting technique along with a timeline, a landscape and the actor's blocking and delivery from your POV (point of view) to be translated by YOU! into a beautifull SEQUENCE of IMAGES (24++) NO into a single print, therefore debunking Zone System here. So, your lighting has to be organic as well. If your first mark read f1.4, you need to have the proper filmstock ASA and proper lens (fast) to read f1.4 or T1,4. in the proximity. It is all matter of cinematic looks and a well exposed scene. After you discuss the scene with your director and ascertain your filmstock ASA and lenses to use (prime lenses are faster than zooms) you will set your lighting order and ligthing scheme to those parameters. Consider the lighting to use at the first mark (actor's blocking) and the whole set illumination including in both the light fall off reading. Walk all about and around your set and read every single lighting source and twick it (adjust) -focus, height, distance- to your lighting scheme and actor's blocking and off course FStop. All this is done with an incident meter in your hand. Feel the light source falling unto you. It is to bright? Use a stand by person to evaluate the falling light. It is to broad? It is not enough? AGAIN Feel the lighting falling unto you-walk under it- It this lighting appropiate for the genre and storyline? Use a gaffer's lens, so you can to evaluate the source. Are the barndoors and focus knob of the source enough for the job? RECIPE TO COOK A PROPER ILLUMINATED SCENE: Choose, rate and oder your lighting sources depending of what type of scene (genre/storyline) your director wants you to illuminate. Add to the decision list, the correct filmstock ASA and correct lens choice (prime vs zoom). Draw in advance a ligting scheme (plot). Add and spice it with diffusers and gels to taste . Mix. Photograph it . Process at lab. (discuss prior shooting your plan with timer/DI). Print it. Project it. Become a famous D.P. No apron need it. In your D.P bag you should carry an incident meter- Spectra, Minolta, Sekonic and a spotmeter, same brands. Both meters will provide you the same reading. The only reason to use a spot meter is DISTANCE. If is out of your reach use a spotmeter, if is at your reach use a incident or reflected meter. That is it! Spotmeter: Diferent tools for different uses. Both read incident light falling (funny thing, eh!) into the subject. One for close reading and the other for far away reading. For some incident meters you can add the spot meter gizmo, like to an earlier Sekonic I used to own. http://www.sekonic.com/main/ FOR MORE READING about CINEMATOGRAPHY visit, http://www.filmcastentertainment.blogspot.com Also visit KODAK to dispell any voodo or quack ideas about what is what. http://www.kodak.com/cluster/global/en/con...dex.shtml#54248

Visit FILMCAST Live! a video blog and webcast dedicated to the craft cinematography and motion picture camera operation http://www.filmcastentertainment.blogspot.com

Hi Benjamin, I used the AatonXTR/OriginC 16mm several times when it was a brand new product to shoot a Honda TV spot and a Chanel Perfume TV spot and others. I rented it from Zellan in LA those days. Circa 1996-97-98. Also I used the same rig in NYC. This recount reminds me, George Gault SR at Hand Held Films -(owner of Duall Camera in NYC) Circa 1997 and changing gates and collimating 12-120 Angenieux's, so they won't look so soft. Good Times. Those days I used to shoot all the spots with an ARRI III or Panaflex, but the Agency producers were cheap so I considered Super16: Beautiful images...and great Sound- An Aaton XTR , the Origin C mounted into the body and synchronized (sync) to the Nagra IV. Always in-sync. after several cans per spot per job of 7245 or the old AGfa color-best emulsion for fashion shoots- and then prep it for telecine (Rank Cintel or DavincI) at Duart,Technicolor, in NYC Monaco Labs in SF, or Fotokem in Burbank. No 2K-4K-DI or any digital jargon those days. Their comment was how good sound and picture was synced right out the telecine. Just adjust the frame speed settings of the Aaton/OriginC and Nagra IV and let the camera go to speed and re- adjust the frames sync accordindgly-Voila! Pix and sound in harmonious sync. It even worked with the old Walkman PRO. I never had a shoot were none of the parts of the AatonXTR/OriginC/Nagra IV failed. I shot over 40 music videos with this rig. It was perfect for lip sync. playback. It is still one my favorite camera AatonXTR/OriginC/NagraIV. Now Cantara. Enjoy your shoot... Check my blog dedicated to the craft of Cinematography, Camera Operating and Post. http://www.filmcastentertainment.blogspot.com

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Hi There, Tape measurement it is the most exact focus setting you can do with your lens. TAPE from From the film plane to the nose or eyes depending of Tstop and camera speed to your subject). The SRII camera body (all film camera bodies)comes with THE film plane marking and hook so your Focus Puller can do his or her job. Video cameras do not have any markings or location of the CHIP PLANE. You would have to calibrate it by ear and spit yourself in the camera shop or home to mount a specific CINE/PHOTO lens/PL/Nikon mount into a Video Camera/Redrock or other adapter. So, for a ZOOM lens (that one you are not familiar with) Colimate and calibrate the lens-film plane markings with the lens distance markings and your Tstops at the rental house BEFORE you check the rig out. Always test your film equipment FIRST! Adjust you viewfinder diopter correctly to your eye power. Even an old 12-120 Angenieux will do a beautiful (on the softer side) job, if you follow instructions. For more info and fun, check my blog and watch a tutorial how to load and unload the Arri SRII Magazine http://www.filmcastentertainment.blogspot.com/ If you have cash$$$ check Cinematography Electronics Cine Tape Measure System. Good shooting and keep Visine or similar in your ditty bag to keep you focusing eye moist and IN-FOCUS.

Hi there, you can check my blog: FILMCAST Live! http://www.filmcastentertainment.blogspot.com A web channel dedicated to the craft of Cinematography, Camera Operating and Post-production. COVERAGE & NEWS ABOUT: LIGHTING: HMI's, Tungsten, Flourescent, L.E.D, Xenon, Strobes, Mixed & Available.- CAMERAS: Panavision, Arri, Aaton, MovieCam, Photosonics, Thomson Viper, Dalsa, Sony F23 CineAlta, ArriD20, Phantom, Panavision Genesis, SI2K & RED.- LENSES/FILTERS/ACCESORIES: Zeiss, Cook, Angenieux, Arri, Canon, Panavision.- FILM STOCK Kodak , Fuji.- POST-LAB-DI/COLOR CORRECTION Speed GradeXR, FilmLight, Arriscan, Discreet Lustre, Nucoda, Pablo.- http://www.filmcastentertainment.blogspot.com