Walter Graff

Looking for an owner operators for a one day event in NY, it's the drama desk awards.

Another stupid topic that tries to take an opinion and ask for fact. Just a waste of web space.

Sockets don't produce high voltage, they only transfer what voltage is supplied. Get a meter and stick it in the outlet. Is it 220? Then that is going to be what the fixture produces. My guess is the lamp manufacturer. There are some crappy made bulbs out there. Might be your case. Who is the manufacturer? Other than that, are you spotting and flooding the lamp just before it breaks? The design of the DYR is pretty crappy as lamps go. Filiment hangs in space so is easily disrupted by spot and flood motion of Omni causing failure. If nothing works try the 500 watt version. Works the same and has a bit more strength.

That is it!!! Thank You!

In the last month or two someone here posted a link to some sort of round table about digital film making. It was a video link. It had some young film maker and a a few older guys. It was shot in round table style with a dolly shot where the two guys were visible on other camera shots. Looked like it was done at a rental house. Does any one know what that link was?

One of the best things you ever said and more than accurate. These schools are selling film making like it's a reality more than what it is, a dream for most. My friend works at a major film school in NY and the horror stories he tells me about how they rope these kids in and present scenarios that will never exist for them is sickening.

Amen, I get hundreds of resumes a year unsolicited and when I ask for a particular job opening, I get near 1000 per ad. My last ad looking for one day of Pa work got nearly 1700 responses. Most of those resumes were useless, poorly written and with not enough real expereince to be a PA. Everyone has director, and every other title, even though they are 21years old and have little real world experince with those titles. Unsolicited resumes are put in the trash 100% of the time by me and most everyone I know. Sorry folks, this industry is not as big as the marketing divisions of camera makers want you to think. There are just too many of you who will not make a career in this industry, even if you buy a RED camera. Somehow film making became a therapy for folks who fantasize about making their mark on society. Get real therapy, it's cheaper. This industry will drive you all more nuts than you already are. There just isn't enough work, isn't enough sustainable work, and isn't enough of a ladder to make 40 years of a career doing it. Yea don't stop chasing your dreams but don't forget to be realistic. Less than double digit percentages of you will make a sustainable career in this industry.

Saw it. Sucks. A lot of hype about a bad film. They talk about a visionary director. Guess no one looked up what the word visionary means. Not even worth a rental which this film will be in about two weeks. Plenty of better ways to waste your money.

If you work for ad agencies it can take 8 months to get paid. They use an extraordinary number of excuses as you call month after month. My favorite was from one of the largest agency in the world, "The printer that makes the checks is broken".

If you lit the chart with more light than you'd ever light a chart with or could bear, you could easily do that trick. This shot is clearly not what it seems to be. You can clearly see the reflection of a light coming from the right of the camera that is lighting the chart. It creates a defined shadow and creates light through the bottle of wine that is represented on the wall behind the bottle. Bounced light and not do that. Or if you had the broad on a dimmer along with the additional light that is lighting the chart you could do that same trick. And that same light that is lighting he chart is seen as speckled reflections in the bottles to the left and just above the open face. And if you try to quickly blow up the open face fixture, you can see that it is not the same shot as the second shot claiming to be a blow up. Detail is just not there in the wide shot. And notice the hard shadow to the left of the open face (it's barn door creating a shadow). If that open face was lighting itself and the light was reflecting of the wall behind the camera the shadow wold not be nearly 45 degrees camera right as it is nor below the fixture as would be created by a source light which is higher than the open face as it is. . Incident reflection off the wall would make it more head on. Clearly this is a parlor trick. It would easily fail a forensic light test based on all the flaws in the shot based on the claim. I could easily recreate this shot and demonstrate that it is a fake using just a bit of math based on the shadows to not only tell you where the source of light in the room is but at what height, and even what distance based on the sharpness of the shadow.

It was a good question, not dumb. Thanks for asking.

There are any number of DoPs listed for her videos, not one. In the music video world, managers usually hire directors based on their reel or who they know and the directors choose any number of people to shoot and generally not one DoP works specifically with any artist.

1600-2500k for the most part from my meter depending on type and wattage

Jim, Not nit picking. I was not clear. I was trying to say that the same lamp type of the same wattage should basically read the same on a meter as one next to it if the same wattage so I had a comparison of what happens to that lamp when you put it in a fixture. I should have added that different lamp models are themselves different in term so illumination even though they might both say 500 watts as you stated. Different filament winds make for different light levels so different lamp models of the same wattage may not be the same in terms of output. Now if only we could re=teach the many myths of electricity such as electricity is made up of electrons.

When you allow someones poison to affect you, it becomes your own.

Why the need for genlock? I assume you mean that you want to record multiple cameras? Other than that, you really don't need genlock unless you are switching both cameras live which you could not do in these circumstances you are looking to accomplish.

The photometric's of a particular fixture are based on the combination of the lamp, lens and reflector. Depending on the design, the spot or flood of the lamp, etc, you will always get different readings. A bare lamp that is 650 watts will always give off the same illumination as another bare lamp of the same wattage. And it will always give off more light than a lesser wattage counterpart. Put it in the chain of a fixture and all the rules change. So while one might have a 300 watt fixture verses a 650 watt fixture, because of the design of the 300 watt fixture, it may be more efficient than the 650 watt counterpart. Doesn't mean it's better or brighter, just that based on how you had the fixture set, and it's design, it might show more efficiency.

I think you said it best Will. Here's what confuses people. In one regard your screen has little to do with your foreground, but in another way the level you choose to light your screen at can effect not only your ability at a clean key, but what you can do later with your talent. In general with film and blue you want to light for saturation and not go too far under exposure with that blue as if you have to bring that level up later the noise in the blue channel can become a factor. In green it's easier as it generally takes less light, and noise is far less a factor than it is with blue. In video you generally want more one to one or slightly more exposure for your screen because later you can always crush levels easier than having to bring them up (introducing noise) in post. But then again you have to know what medium you are working with. HD/HDV for instance has the ability at making far more noise if you have to increase the levels later so if you were shooting blue, I'd over expose one stop at least as a general rule if you felt you might have to make screen level adjustments later. But if it was green with HD/HDV I'd go for a one to one or slightly less exposure as the green saturation will be easier to cut than blue. And then you have to know which color would work best for which backplate. If you are shooting a guy over green and lighting him for a nighttime scene you could potentially have more problems with that green leaking, causing edges, etc than you would if you used blue as in the night scene blue would be so much more acceptable if it showed up in a key, as something you could not as easily work out of a shot. Bottom line, your screen and your foreground have nothing to do with each other in the sense that you are lighting the screen for even illumination and the talent for how they will show up in the backplate. But since they are married in the sense that both exposures need to be workable together you can only have so much exposure difference between front and back before you get in trouble. In general what many do not account for is that once you cut your key in post, you can now do a vectorscope anything color correction wise to your talent and you will not effect your key. So in post they really are separate entities from shoot to finish. If it's video the simplest way is to light your screen using a. Put your blue or green color inside the appropriate box on a vector corresponding to the color and pretty much nothing else you do can be wrong. It really needs far more in depth explanation than I am giving here in my random thought, so sorry for the shortness of the answers. Having lit screens extensively for 25 years, it just becomes something you learn to do with your eyes closed rather than working from rules as if you feel the colors more than wonder about exposure. Sort of like when you work with alight meter you start to learn exposure numbers by eye. In other words, keying is best learned by experience, and with that making mistakes. I can tell you about $100k mistakes I made. In my green screen classes now I spend as much teaching the post production side as I do the lighting side, as lighting with green screen is 40% of what you need to know to do keying well. So I’d suggest folks at least learn how it is done from the post side and see what lighting does to know what works and what is myth about keying. That is pretty much the only way to really understand keying. It’s far more complicated than one stop over or under.

Personally I would never suggest an edit system with interior drives. We have installed over 600 such systems and we've had the most problems and failures with internal hard drives. Its simply too much heat. External drives are far more reliable as far as we can see.

LCDhas a slight advantage. Better color rendition for LCDs, but LCDs can't make black blacks, so decide whats more important.

It would take far more than a few RED fans to put film to bed.

And as I said in another thread, it's a misnomer that Kodak's main stay is film. It is not. 2/3rds of the companies profits are in digital and non film areas.

Japan owns nearly as much in US Treasury Securities as China. And the UK is behind them, but with half as much 'ownership' of our debt. So it's not always China as the media likes to make it.

Sounds like you just haven't found the right setting for the A1. A number of sites offer detailed adjustments and looks that make the camera really shine. No camera out of the box looks good and always needs a tweak to get it to where you want. And no, no two manufacturers have the same underlying look. It's about the CCD/CMOS and the electroncis behind them that give you what you get. BUt few cameras can't be adjusted to have a look very similar if not exact another manufatuer.

Guess you never studied history, unemployment stayed in the double digits with the new deal and the country a shambles till WWII fixed the economy. his new deal did nothing for the economy. Built lots of roads, but not much more. If you'd like the history and the numbers, I'll send it to you. As i said I care less about politics, socialism, etc. What I consider a fair assessment: http://www.historylearningsite.co.uk/New_Deal_success.htm oh and... "President Obama's economic recovery package will actually hurt the economy more in the long run than if he were to do nothing, the nonpartisan Congressional Budget Office said Wednesday. CBO, the official scorekeepers for legislation, said the House and Senate bills will help in the short term but result in so much government debt that within a few years they would crowd out private investment, actually leading to a lower Gross Domestic Product over the next 10 years than if the government had done nothing. A preliminary analysis by the Congressional Budget Office shows that the jobs created by the economic stimulus legislation being debated in the Senate would cost taxpayers between $100,000 and $300,000 a piece." http://www.cbo.gov/