Wesley Hartshorn

I learned a lot from reading this post. Thanks a lot guys. I'm wanting to learn more about using color to grab an audiences desired emotion. Your explanation about going beyond the "somber blue" in a mourning scene helps to think outside the consciousness of the audience and speak to them in a more subconscious level, thanks for that Peace, Love, and Film

The numbers all look great and it's mature of you to plan your next 2 years out the way you have. But I wonder why do you want to go to the "West Coast"? Besides the obvious reasons? Have you ever lived there? My 1 year spent there was great and I was booking gigs constantly but the traffic and environment is a drain on your soul and there are other hubs in the US where you can make a living in Film. Arizona and New Mexico? The government in Cali is driving production companies away to other smaller hubs nearby. Me being stationed in Ohio I've grown to love the enthusiasm I get from my local filmmakers here and that was something that is hard to find in LA. Nothing can replace the raw energy from a small group working towards their film careers in an unlikely place. Peace, Love, and Film

When you explained the the overall image is being darkened and you are more clearly seeing the difference b/w the shadows and highlights that helped me to understand my basic concern. It's not so much an overexposure issue as it is decreasing the difference b/w shadow and highlights. I'm going for a smoother transition b/w shadow and highlights. thanks for your insight

It's not the adapter that causes the increase in contrast, it's the amount of light needed for the camera to pick up picture and give a soft fall of shadows. So if I'm shooting a CU of a character and I want their face 1/2 lit with a soft shadow edge on one side of their face I would need to light their face with so much light that on some parts of their face are blown out. I was wondering if you knew of any other ways to create soft shadows using fill. This photo gives an idea of what I'm talking about: http://farm4.static.flickr.com/3356/354680..._05f4bdf447.jpg

Thanks David, Learning about the different temperature tubes helps out a lot and answers more than just my initial question. In your experience what has worked best for getting soft fill when using the Letus 35? The adapter stops down so much lighting that in my experience it's been difficult to get soft shadow edges without blowing out some part on the talent. Aside from the adapter question basically what techniques do you use when filling an indoor scene. Thanks David

About Fluresent lighting: What are some problems you'll run into when using Tungsten 3400 to illuminate objects and subjects in your scene and also using 2 kinos for fill?? Basically I'm interested in learning more about the techniques of getting the best fill light while maintaining 3200 - 3400. Not sure if there is a unique way or if this is even possible as I'm always learning. I thought I should mention the Camera set-up Panasonic DVX100 Letus 35mm adapter Any feedback from the community is much appreciated -Wes