Joe Riggs

I am trying to achieve similar lighting style for the following http://i663.photobucket.com/albums/uu357/joeriggs/1.jpg

Unfortunately, behind that door is only about 6 feet of room. The stage does have house lights, I get a reading of f2 on them. I picked up the hazer so hopefully, we will have better luck with that.

We are looking to create a shaft of light for an interior similar to what David did in that beautiful image. The beam would be coming from the slit in the door Then we would like a shaft of light highlighting a character who will be speaking on the stage, akin to the picture on right but only one beam, and not as strong, just enough to make an impact. The caveat is we have no access to an HMI or Xenon that can create that beam. What we have are 2k's, 650 fresnel's and 1k broads. Those lights were not able to produce the "beam" on their own so we did some tests with a fog machine and powered dust. The door slit: The fog worked ok with the 650, but with the 2k it was a little ridiculous, it looked like someone just hot boxed the room. The dust was too quick to dissipate. The stage: There are some houselights that l;it the stage, we used those to test. This time the fog was too much and hard to control. The dust worked better to produce a sharper beam. We also have access D50 hazer, what does that do? Is it better than a fog machine or dust? This was my first attempt creating shafts of light and any advice/tips you may offer at creating it with the tools at our disposal is greatly appreciated.

It looks like we're going to be shooting on either Fuji 500D or Kodak 500T, and the former is looking more likely since it's practically in our possession. Our shoot is really soon and if we ordered, we would be cutting it super close. Since the school doesn't have an 80a filter and may not have enough CTB gels (there is a chandler with 20 small lights in the scene). I was curious about just fixing the temperature during telecine. I spoke with a telecine operator and he made it sound like it would be no problem...from your experience is this accurate? Can they fix the color temp to such a degree that it looks like we had an 80a filter all along? Is a CTB gel different from a blue gel? David, it looks like I may have to relinquish that classical look, not just cause the film speed but I wanted to shoot B & W but the man in charge wants color. When you say "Under rating them 2/3s" does that mean under exposing? Finally, I'd like to start a thread for this project where I could receive advice and be critiqued (i.e. posting location pictures, ideas for lighting setups and then finally the finished project), which part of the forum is most appropriate. Thanks for all the advice

A lot of Spike Lee movies have at least some sections shot on 35 reversal, Clockers was mentioned, He Got Game, 25th Hour, Son of Sam are some of the others I believe.

Hello, I will be D.P. on a short 16mm exercise. This is my first time in that crew position and a buddy of mine is offering me a roll of 500 speed daylight stock for half the price. I would like to take advantage of that but I am a little hesitant because the scene is shot indoors. I am assuming I would need to either gel the lights or camera with a CTO? What would be the processes I would need to take to use that stock? I am also concerned about the speed, the image will end up rather grainy correct? Finally, if I decide to get indoor stock, which stock would you suggest? The scene is a melodrama, so I would want to have a classical clean 1940's or 50's style look. Thank you

Medium Cool, In the Heat of the Night, Who's Afraid of Virginia Woolf - Haskell Wexler The Devil's Backbone - Guillermo Navarro In the Mouth of Madness - Gary Kibbe Red Shoes - Kim Tae-Kyung A Tale of Two Sisters - Mo-gae Lee Sunrise - John Bailey Millers Crossing - Barry Sonnenfeld interview

In Cinematography Style Storaro states he is a “cinematographer not a director of photography”. It has been a while since I watched it but I recall he sounded like he had some disdain for the latter term "director of photography" and I was curious if anyone knows why he prefers the former?

I really enjoyed Ernest Dickerson's commentary on Malcolm X.

Yep we're reshooting, live and learn, what is the ideal size of a film loop? I am still unclear on what the pressure plate is/does? As far as the camera we were using it just had the body, a removable cover and a couple of spools inside.

thanks, the software is called mokey?

Dan, there does seem to be an inordinate amount of slightly out of focus footage. Furthermore, the small loop would happen because how the film was loaded? I would like to determine if this occurred because of a faulty camera or an operator error, and warn other groups about it.

It is definitely not from the telecine, as I was in the telecine when this was discovered. We shot with the canon Scoopic M, I am rather new at this could someone explain the pressure plate?

Hello, We shot a 16mm short film for a school project, a member of our group is an aspiring DP, and he took on the responsibility and loaded all the film into the camera. There was no weird noises emanating from the camera when we shot, so I was shocked when we received the film back and all the reels look like this (video takes a minute to load) Sequence 01_1.mov - 15.95MB The telecine guy thinks it was the camera, however our professor thinks it was an operator error, anyone have any ideas why this happened, and how to avoid it in the future?

Perhaps I could get some advice from more experienced filmmakers regrading this post http://www.cinematography.com/forum2004/in...showtopic=34746 Thanks

Hello, We will be shooting a short in a restroom, under florescent lights. Part of the scene is in b/w and part of the scene will be shot in color, we have a 100ft roll of 16mm color negative Kodak 200t for the color section. My concern is how the tungsten film will react to the florescent light, both color wise and flicker? I wouldn't mind having a gritty, slightly greenish image because the restroom is supposed look unpleasant.

Hello, I am a student taking a beginning film class. My group is required to make a 3 minute 16mm B/W negative short, and we plan on purchasing 3 100ft rolls. We have worked with b/w reversal but we are all pretty naive when it comes using negative stock, the telecine process and the quality benefits. Members of the group have some major concerns, mainly monetary/Quality (cost vs. benefit) that could hopefully be answered by others with much more experience. I should also mention, we are near the L.A. area, and the school has a telecine machine (but the quality is pretty bad). Since the cost of the telecine will be about 300/hr and this is a project that will most likely just be shown in class, and may not be the great film we hope it will be, is going through Fotokem or another lab worth it? Will a one light pass make a great difference? Furthermore, since we are shooting in B/W sophisticated color correction tools will not be necessary, and therefore won?t the benefits of the telecine process be severely limited?