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Patrick Kaplin

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    Ottawa, Canada

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  1. Hello Robin, Thank you for the detailed reply. We've decided to budget in a FP just in case but I do intend to test further, we have a few more blocks of similar content to film and it would be good to know the AF limitations.
  2. Hello, I've got a shoot coming up where we'd like to explore using the internal AF on the FX9 for our steadicam shots (shots will be of dancers performing). I intend to test extensively on my own, but I was wondering if anybody has had any success with the AF under similar shooting scenarios? I'm slightly nervous as there may be some work in silhouette and we have very limited time for the shoot.
  3. Wouldnt it be more efficient to use the 2k as the red source since its already closer to that part of the colour spectrum? Kinos could then be daylight balanced plus a bit more blue.
  4. Im very curious to see anybodys suggestions for this. Personally, I dont really see how it can be done. You would need an enormous amount of negative to create that level of contrast in daytime conditions. If the budget issue is due to renting a big genny/condor/big fixtures, maybe a different approach would be to scale back the coverage to tighter frames and rent a smaller genny/lighting package to only cover those frames. Godspeed, its quite a challenge you face. Please fill us in on how it went.
  5. Personally, I've never used a thermal cover. I find the camera's internal temperature runs so high that heat dissipation is actually improved in colder temperatures. However, I suppose it couldn't hurt, but I wouldn't always consider it a necessity. I've shot Red Epic in -36C without a thermal cover with no issues. Care must be taken for the LCD screens though. Handwarmers and rubber bands are good friends. One really important thing to be aware of is lens lubrication. If you don't winterize your lenses, you can expect to have some issues with remote follow focus units. They may not be able to provide enough torque to properly turn the lens at those temperatures.
  6. Hello, How much for the Zeiss Classic ZF2 set? Thanks,
  7. Thanks for the suggestions Sanjay and David. Rounding the edge of the aluminum sounds like a good idea. Unfortunately it'll be a docu environment, so controlling ice quality will be pretty difficult. I'll try to grab my shots within the first 15 minutes of the Zamboni passing. Cheers guys.
  8. And also provide the most stability at high speeds on the ice
  9. After watching it in a higher resolution it appears to be a wooden base. Any idea what would slide better on ice, wood or aluminum?
  10. I have a shoot coming up where the director wants to have a camera sled on ice. I'm wondering if anyone has ideas about how the base of this rig is made? It appears at 3:16 on this edit. I know the top portion is just aluminum bars attached to the top handle of the Alexa, and that a wedge plate is holding the camera. But I have no idea how the wedge plate is attached to the base and what the base is made out of. If anyone has any ideas or suggestions I'd love to hear them. Cheers!
  11. Hey Kevin, I think this is something you'll have to test on your own for the exact differences between bulbs. Once you find the one you like just order a whole lot of them. Generally any cheap fluorescent with a low CRI rating is going to give off some green light. If you take a cool white with a terrible CRI and shoot on a tungsten balance then you'll get that cyan colour. You can also modify slightly with 1/4 and 1/8 plus green gels, try using 1/4 plus green on a daylight Kino. This way you can use some conventional units for modelling if you wish and keep the same colour. All in the testing.
  12. Also, if the budget allows, 1x1 LEDs can be quite handy and are quite compact.
  13. Which country will you be filming in? Bring a china ball with daylight photofloods and some incandescents with a stinger and paper tape. Hardly takes any space and this way at least you'll have a nice soft key for interviews. Use existing practicals for background and maybe even cheat some for rim light.
  14. I'd suggest, if you haven't already, checking out the special features on the Moon DVD. They could only afford a motion control rig for a certain amount of days and could barely fit all the shots into the schedule. For simpler moves and pans, a trick they used was to do the take with Sam #1, then once they were happy with the take, playback would send a half opacity version of the selected take to the operator's monitor, where he would practice the move in the selected take repeatedly. The operator practiced while the actor was getting changed in wardrobe/makeup to his second character. When Sam #2 was ready, the operator would follow the moves from the previous take during the new take. That was the basic idea, and it's been awhile since I've seen it. But it essentially worked as a poor man's motion control rig. You could try contacting Gary Shaw, the DOP for Moon to ask about any caveats to using this system.
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