Ryan Thomas

Maybe try shooting some tests. A small scene with the film gamma and then another with the video gamma. Then run it through your post production workflow and take a look at the results and what you had to do to get there.

In the AC article it said 35mm, SI-2k, and some stuff with that Cannon 1D MKIII. I haven't seen anything about the HV30 around... Still pretty cool. :D

Those markings give you a good estimation of how much DOF you have at each F-stop. Handy for figuring out hyperfocal distances and the like. I'd have to see a picture to be positive, but that's what it sounds like it is.

This is a terribly sad thing. Too bad that one would ruin it for the rest of us. I wish I could at least look at the old forums. Oh well.

Ah, makes sense. Thanks.

Does overexposing negative film a stop, then printing up to compensate tighten the grain structure? Or is it only when you overexpose and then pull the film in processing?

Oh my gosh. Why haven't I thought of this before....lets make it catch on guys. :)

I might also recommend not even attempting to practice with your still photo lenses, on your 35mm still camera, or with an adapter and follow focus. This is just because the direction the lens has to turn to go to infinite or close focus, is the opposite of that of cine lenses. So normally when you pull you'll find that your thumb will go in the direction of the action, but since it's reversed with still lenses you'll find your gut instinct getting all funked up. I've just had a few blunders where I've been pulling on these adapters for a while and someone throws an actual lens at me and I feel like I have to totally change my brain over to get things going. I think just getting really good at guessing distances is a good way to start. Then...just do it! (Easier said than done...I know...:))

Oh, I think I know who I was thinking of now. I don't think we've met yet, though I've heard your name thrown around a bunch. Nice to see you here though Jason. I feel like I've found the secret hiding spot of my friends on the internet, sorta funny..

Oh man, doesn't everyone? It was only a matter of time before I joined this place. Good to see some people I know. Jonathan, were you on that Etude in Black shoot a while back? If my memory's any good, I think I AC'ed for you on that. Anyways, I guess I got a music video coming up this weekend. Only time will tell...

This is what I'm thinking, but I think the issue would be rigging it securely on the rooftop side. Then again, you would have your stand right in the middle of your light, but hey, say it's a cookie and call it a day, right? :P If you could rig the speedrail with the stand below, you might as well just forget all this and just put the light on the stand. If it needs to be armed out further, you could also use this terrace to put up whatever diffusion/cutters you'd like. Interested to see what you end up with though. I did something like this a while ago but with a much smaller open faced 2k lamp. We used your initial idea and it worked out fine. Our fence was basically bracing our tubing down though, since it was much closer to the ground. Too bad it doesn't look like you have that luxury here.

I had a reel from one of the instructors from AFI for a little while and while he didn't have long scenes and show how he covered them, he had title cards for each of the films and then maybe a few shots that would string together showing his best from each film. So it wasn't quite full scenes, but it wasn't exactly a montage. Another thing I noted was that it was pretty long, hitting in at around the 8 or 9 minute mark. I think the narrative visuals idea is a good suggestion. Keep in mind that although being proficient technically is important, telling stories with your images is paramount. I mean, maybe that helps, maybe it doesn't. Just good to know what the instructors are doing with theirs...

I'm going to have to try out the 250 or 251 facing towards camera only. I've wanted to light a lot more just using practicals but finding a way to keep them from blowing out too much, while keeping their exposure on the talent was always something that I wasn't sure was doable. Funny how there's always a nice simple way to do things.