Kevin Zanit

Those sheets are smaller (12x10), the ones I am talking about (the standard size I have always seen) are 21x24.

$100 a roll sounds like a good price actually. It should be around $7 - $10 a sheet. www.studiodepot.com www.filmtools.com Are places that sell gel online.

The ones you are talking about are under 1k, I think all the 1k globes are sealed units. I've never worked much with small than PAR64s, though my old gaffer had a thing he called a "mini par", it was one of the really small sized PAR cans that he would just throw in the electric set crate. Kevin Zanit

The reflector is built into the globe (as is the lens). The ones I keep in the lights are MFLs (medium flood), but I usually rent spare globes in the different types (VNSP, etc.). At around $20 each, I didn't want to buy every type of globe, as they are a $2 a day rental or something like that. They are fairly cheap (though to get a complete unit with the can, globe, bale block, gel frame, safety hanger can all add up quick). Also, most of the ones online are aluminum cans that are not very durable. The ones most rental houses carry are older steel ones. I own a few steel cans, but most of mine are aluminum. My crew knows I'll kick their asses if they break my lights, so no problems yet :P To attach the lights to stands you need what?s called a "bale block" or TVMP adapter. I bought Avenger ones for mine: http://www.bhphotovideo.com/c/product/1247...nd_Adapter.html Kevin Zanit

I have found makeup is really important to helping with the glare issue. Funny you mention Deal or No Deal, on a project I shot with Howie, I had a very large soft box built for overhead so that any reflections on his head would be soft, almost like a car commercial. He also does not like to wear any/ much makeup which somewhat further complicated it. That said, I just try and avoid top light, bring it lower to the ground, get on the same page with the makeup artist, and if you must use top light then diffusion it a lot. (the thread I wrote on the project with Howie http://www.cinematography.com/forum2004/in...howtopic=11530) In your case you could place a medium sized diffusion frame (4x4) over the talent to further soften the existing fluorescents (assuming your shot had somewhere to hide the rig). Kevihn Zanit

Hi, Welcome to the forum. There have been many threads in the past with questions regarding representation and the financial aspects of this business, it is good to have you here. Kevin Zanit

Kodak has always been very generous with donating film, at least in my experience. A lot of it depends on how much film you plan to buy. Some recent tests I shot, Kodak donated 1200' for them. Just explain to them what you are doing. Kevin Zanit

As long as they are not invoicing production for crap I didn't ask for and then I get yelled at later by production for spending a bunch of money I could care less if people want to try and invent new stuff with their own gear, who knows what kind of useful things someone can come up with. That said, their science experiments should not interfere with the normal workings on set.

It depends which version of a Cyberlight for sale, but that is a very good price for the unit. They used to be around $10k or if I remember correctly. They are good lights, I like all of HES stuff. The seller looks like T2k (judging from the pics), go to www.lightbroker.com to see what else they have, they deal with tons of moving lights.

Thanks for the info, glad they are showing it in a good venue.

It?s a light diffusion that reminds me a lot of a shower curtain. I have never used it in a large overhead before, but I have used it, per the suggestion of Dave Devlin to lightly diffuse several large florescent fixtures. It does a nice job of blending the separate tubes. It?s a nice material.

A bit of an update/ question: Do any of our UK friends know anything about the "Declaration of Independence Film Festival"? (other than what?s on their website) I was just told "Room Service" will be playing in the festival at the The Renoir (5 Brunswick Centre, London). Doubt I will be going (though I would like to), I am mainly curious if anyone knows anything about the venue or festival (not sure what kind of projection will be used, no film print exists of the movie, only HDCam & HD-D5). Kevin Zanit

I would never pick the camera up by it's mag. The GIIs do indeed have breakaway mag throats that can not handle that weight. One hand on the handle and other below the rods should be fine, or as I said, over the shoulder is best. Kevin Zanit

Odd, I've worked for many years with GIIs and have never had this happen/ seen it happen. I was, however, always taught to carry the camera when using the top handle with my thumb pushing against the release switch to be extra safe. The safest thing is probably to throw the camera over your shoulder with the lens facing towards your back (if that makes any sense), then you are just balancing the camera on your shoulder. Once again, odd problem, never seen it happen before. Doesn't sound like you could have done anything different. Kevin Zanit

If that connector went in the other direction it would be. What is in that picture is a male 60amp bates to 3-female 20 amp edison connectors. You need 2 or 3 male edison to one female 60amp bates connector. Kevin Zanit

If I remember correctly the "Z" Series MKIIs come as either Ultra Speeds (the serial# being USZ[focal length]) Super Speeds (SZ[fl]), and I think the non-Z series lenses are just regular old Ultra, Super or Normal speed lenses with a PV mount, whereas the Z series are rehoused with Panavision mechanics. Kevin Zanit

Not a problem, that picture doesn't show the lights with their "bale blocks" (or TVMP adapter) that allows you to put the light on a stand btw. The entire reason I bought them was I realized that on EVERY job I do I always seem to have at least 2 and more typically 6 to 8. They are great for night exteriors. They are real easy for me to keep working. The very last job I did I had a rental for 2 and brought on 4 just to have as stand by (and bill them if it the other 2 were used), and the job before that I had all 10 on. Kevin Zanit

Um, they are just PAR64 cans. Simple and cheap but a lot of light for the money.

You can break the film off. I would never consider doing something like a full skip bleach without extensive testing. I just posted a bunch of stuff from a huge bleach bypass test I shot on here (over 96 different setups), and even after that I still would like to do a few more tests (though I would be okay without them). Kevin Zanit

Not aware of any that can do more than a 500th of a second.

What everyone is saying more or les is that the PARs don't have the spread to be even slightly useful for lighting a green screen. You would need to heavily diffuse them. I would be especially leery of buying any HMIs as they are extremely expensive and require a good deal of maintenance. A $5500 HMI rents for $180 a week. Do the math and then see if it pays off. That said, I have long spoken against buying equipment but I also recently bought 10 PAR cans (tungsten) and have been able to keep them working pretty well so far. They are low on maintenance and cheap, and that is what I would look for in gear I needed to own. Kevin Zanit

I think I explained it in that post he linked to, and I know I have on here like three times. HMIs at extreme high speed (500 and up) flicker not only because of the Hz rate issues, but because at t hose speeds you are seeing the actual arc wonder, which creates an impression of flicker. It can be solved by shooting the light through pretty heavy diffusion. Tungsten 5k and up is fine.

I've always seen and done the bag on the leg (not the supports). You tend to hang a shot bag off the knuckle if the legs are really skinnyed up and you can't fit one on/ it falls off.

Do a search, it's been talked about here some before. Ric Halpern who is the head of the program sometimes posts here.

I need to do it for anything that should be exposed at a 1000fps. Sometimes that is a face or person, those times are times it sucks to be an actor.