Kevin Zanit

Yes Troy went through a DI, or at the very least did the step to super 35 via a digital step. Kevin Zanit

The k3 is a nice camera for the money. But I don't think I would be seen putting in additional money into the camera. My friend owns one, and he really likes it for what it is. For $200 it is hard to go wrong. Kevin Zanit

Oh yeh, checked out your stuff . . . looks real good.

Congrats on getting in! Kevin Zanit

I rate most video cameras at about 320 - 400 ISO. You can find out for your self by pointing the camera at a gray scale chip chart, and connecting the camera to a waveform monitor. Adjust the cameras exposure until it reads correct on the waveform. Then take an incident reading in the same light as the chart. Adjust your meters ISO until the exposure it gives you matches the one set on your camera. Kevin Zanit

Ok, well then PAR cans are not a bad way to go. You may also want some Lekos. Generally you would have three sets of truss (or pipe). Each of these are known as "electrics". On your first electric you would have several par cans and lekos for key/ fill. On your second electric you would have the same units, but lighting as somewhat toppy/ reaching into the back. On your third electric you would have your back lights. You could also add some vertical pipes on each wing of the stage area to add some side light. All these lights would then be hooked up to a dimmer board to set the balance of all the units. Obviously in a low budget situation, you will have to forgo a lot of this stuff. Most of the PAR cans I am talking about would be PAR 64s. These are 1ks, thus they draw about 10 amps. You could plug two of these into one household circuit (assuming 20 amps, and not 15). I would make pairs of two units, one on stage left the other on stage right and cube tap them into one circuit. I would do this working my way to center. If you can get 1000w wall dimmers and wire your pairs into these (if you cant get a dimmer board) that would be real good. I almost lean towards you getting 1k fresnels (if you can afford them) because of the ability to easily scrim them down (easily, assuming you can get up to them!). As for the rigging of all this, I can not say because I don't know your location. Saftey chains are a must. Kevin Zanit

Well, that would be a nice package if you were doing a concert or something. It is extremely hard to recommend a package without knowing what you are shooting (locations, look, etc). Also, will you have a generator, or just relying on wall power? I am assuming wall power, so here are some standards: 2 x 1.2k HMI PARs (LTM) 2 x 8" 2k fresnels 4 - 6 x 650w. tweenies This is a very small package, but will work in most situations. I really like the 1.2k HMIs because they are so versatile. They have punch outdoors, and can look great through windows, etc. For grip stuff, this would be a nice package: 7 C-STANDS, 1 SHORT C-STAND, 4 REG. COMBOS, 1 BABY OFFSET, 2 BABY PLATES, 2DUCKBILL HOLDER, 1 FOAMCORE HOLDER, 2 CEILING CLIPS, 2 JR TO BABY ADAPTERS, 2 JR GRIP HEADS, 2 6" C-CLAMP W/ BABY, 2 12" FURNI CLAMPS, 2 MAYFERS, 2 CARDILLINI, 5 SAFETY HANGERS, 1 4 STEP LADDER, 8 20LB SANDBAGS, 4 FULL AND 2 EA. 1/2, 1/4 AND PANCAKE APPLES, 5 EA., #1, #2, #3 GRIP CLIPS, 2 FURNI PADS, 1 EA. 18X24 SINGLE, DOUBLE, SILK, 2 18X24 SOLIDS, 1 EA. 2X3 SINGLE, DOUBLE, SILK, 2 2X3 SOLIDS, 1 6X6 BUTTERFLY SET Kevin Zanit

I think they used F900s (don't quote me on that!), but I can ask a friend of mine who did a season on that show if they did anything special. I honestly have no idea.

I really liked Diego Quemada's work on A Table Is A Table. I thought the film looked great.

Just saw The Terminal. I am a huge Kaminski fan, and from the trailer was a little concerned about the look. After seeing the film, I can say it was one of the best looking movies I have seen in some time. Extremely artful, as usual. One of my favorite scenes was at the fountain. Just a real ballsy, beautiful scene. Kevin Zanit

What mod? There are several including a Super 16mm gate, and a crystal sync motor. Kevin Zanit

Well most bellow the line crew people sign what is called a "deal memo". It more or less lays out their day/ hourly rate, with how long they are guaranteed employment (if any). It also lays out that the employee is an independent contractor with not rights to the final product, etc, etc unless otherwise discussed. It is usually two to three pages long. Kevin Zanit

http://www.cinematography.com/forum2004/in...l=negative+fill

I'll be there at around noon, assuming I recover from the all night shoot these past two days . . . Kevin Zanit

No problem at all. Kevin Zanit

A Matte box does absolutely nothing to the negative (or video signal). It is used to hold square filters in front of the lens, and shade light off of the lens. The only real difference in between a matte box used in film and one in video is a video one is generally smaller. Kevin Zanit

If I am not mistaken, Remi Adefarasin comes around here a little bit. I am sure he could probably shed some light on the subject. Kevin Zanit

It was initially shot with a mix of 35mm and a Panavisied F900. It was shot by Paul Cameron, he then departed from the project, Dion Beebe stepped in, and the digital camera was switched from the F900 to a Viper out of Band-Pro (using their Digiprimes). Kevin Zanit

The worst thing a loader can do is to flash a roll of film, and then say nothing about it. I know of many stories that a loader flashed the film, and told no one. The next day, the dailies come back fogged . . . the loader is sent home. The most common mistake that most newer guys make is hoping that by some divine stroke of luck the film will be fine. This rarely ever happens. If production breaks a set down, and then has to re shoot it is way more money than to tell the DP (or 1st, what ever you are more comfortable with) that you fu**ed up immediately. There is a strong chance you will not be fired if you speak up as quickly as possible. There is a very strong chance you will be fired if you don't speak up and they find out the next day. Kevin Zanit

Used 100kw one on a feature for a week or so. It had a lot of spread and a lot of punch, but as said before it was kind of "Eh". Maybe try to do some tests down at lightningstrikes to see if its what you are looking for. Kevin Zanit

I have an old Studio Deluxe and a 508c. The 508 was a nice chunk of change, but extremely well worth it. I really like the meter because it is so versatile. I keep the Studio Deluxe (that I got at a Pawn shop for $20) as a back up. Matches the incident readings of my 508, so she still works. I would recommend that meter to anyone starting out (the Studio Deluxe). Kevin Zanit

Odd, when I saw it I actually thought to myself it was better than I expected. It had good color saturation, and not to much apparent artifacting. Granted I was sitting further back. Don't get me wrong, it still looked like crap, but not as bad as I was expecting. Good film though. Kevin Zanit

Yes they do. Generally a black net does little to affect contrast (other than causing highlights to bloom out possibly into shadow areas). Lighter color nets to lower the contrast. All the different colors have different effects, thus test a lot. Kevin Zanit

You could shoot an indoor stock outside un-corrected. Then in printing, time out the blue. This takes a lot of reds out of the skin tones, and adds to a more monochromatic feel. Kevin Zanit

When I was on Collateral (just visiting) things seemed tricky due to the car rigs, and the new formats . . . but at the same time, everyone (in camera) seemed to be pretty happy with how things were going. Big show. I came in after Paul Cameron left, and Dion Beebe steeped in. I to agree it will be very interesting to see the mixed media. Kevin Zanit