Mike Sorel

Thanks everyone for your the suggestions , an HMI is in the budget so I think it will be my best choice to have the light control during the sunset. Tom, I took the screen capture from the latest reel from RED, it's a dolly shot so I'm inclined to believe he is actually there. but then again you never know?

Thanks J, Good to hear 1200w will be enough for my needs, good call on the CTO also. I was thinking balancing the camera to the blue light of the HMI to excentuate the orangey light from the sun. Having the CTO will give me the option to dial the orange in the sky down if its too much.

I will be shooting (HDCAM) a PSA in the next week, in it an actor will be delivering the tag line "The sky's the limit...". I noticed this video of Chris Isaak and was hoping to do something similar. The strongest light I can afford to get for this shoot is a 1200w HMI, and I am unsure if it will be strong enough to acheive the same dramatic effect? Thanks,

I have watched Departures a few times and I am always impressed by the cinematography and cinematic feel the images convey. But I have to say what impresses me most is the coverage Andre the DP and Director gets on his own, every scene has lots of coverage and isn't boring at all. So if Andre is out there I'd like to hear how he approaches shooting a scene?

I have a commercial shoot this week which I am looking for advise for. I have wide interior shot in a large room with windows running the length of both the walls. The director has asked to have the outside light to simulate sunrise and the indoor light to keep a cold look. I'm trying to decide if gelling the windows with a dark orange gel or using a gelled HMI from outside to create this effect. This is the room we will be shooting. I will be using a HDX900 on this shoot.

I noticed the same thing last night. I have to admit it's the first time I really noticed it, probably because they did over use it. It was really pronounced, and not in a good way, in my opinion.

They used a "Vertigo" camera move in an episode of "The Wire" that worked really well because it was a very slow move over about a minute half of dialoge between two characters. The move created a ominous mood as the buildings in the background seemed to grow and loom over the scene. Mike Sorel

Hey everyone, l'm looking for some advice on mounting Kino Flo 4' banks. I'm shooting a reality/game show in December and I'd like to use Kino 4' banks to lights the living areas and the locations. I've seen a couple of similar shows use Kinos mounted where the wall meets the ceiling but I can't see how they are mounted. I'd also like to leave the rooms in good condition after we leave, the living area and locations have all been generously donated. So screwing the lights to the walls is out of the question. Any advice would help. Thanks Mike Sorel

Beautiful images, very Terrence Malick it reminded me of THE THIN RED LINE. The only thing I think you could add are some Sequencing, telling a small story. But that said I liked the pace, and it was very watchable.

I'm also posting to keep my account, I use the forum constantly as a referance. Thanks

I've got an upcoming shoot for a charter airline, and the producer wants some high end HD air to air shots. The airplanes we are featuring are a Pilatus PC 12 and a Citation Jet. I'm wondering if anyone has some experiance with this type of shoot and the systems we should use? I've done some research into Vectorvision, Gyron HD, Taylor mounts, and Wescam, I'm curious about the advantages or disadvantages of these systems and there avaliability in Canada? Thanks

I've been on quite a few trips packing a HDW 730 and various gear. I agree with Tim, the camera and lens go as carry on, the rest you check in hard cases. Most airlines allow 2 carry on bags, I take the camera as one and pack a gear bag with enough tapes, batteries, lav mic, etc so I can shoot for a couple of days while the rest of the gear that is lost in transit can catch up to me, it has happened to me. Another thing you should get is a Carnet which is like a passport for your gear, it can smooth your travels through customs agents on both ends. Here's where to get more Carnet info - http://www.uscib.org/ . Happy Trails

Thanks for all the advice, It's has eased my mind about choosing the Zeiss Super speed primes, and staying away from the zoom lenses. I have plans to get the biggest monitor I can get my hands on to catch any imperfections right away. We shoot this sunday and I'm really looking forword to seeing how everything looks.

Hi, I am shooting a commercial in a couple of weeks with a HVR-Z1U and a Mini 35 adapter. I've never used a Mini 35 I am new to the world of film lenses. The local rental house has Zeiss Super speed prime lenses, and a couple of zooms. I am wondering wich is the better choice with the adapter? and if extra's as far as lens supports should be added? Any other tips regarding the Mini 35 or lenses would be helpfull. Thanks

Hey, I'm about to start shooting a lifestyle show and the producer wants to mix Z1 and FX1 footage. I was hoping someone has some experiance with this and can tell me if there were any problems matching the cameras in production, or any post production problems with the mix? Thanks

Hi there, I just stumbled on to the Canon W80-HD Wide Converter on the canon website, and I haven't been able to find any product reviews anywhere. I shoot on a HDW 730 with a Canon HJ21ex7.8B, and I have been in situations where I would have loved a wide angle lens. I've thought of getting a Canon HJ 11ex4.7B, but the cost is not in my budget. So the W80-HD may be a good alternative for me. I would like to know if anyone has shot an hd project using the converter, and how well it performed? Thanks

I think you have to get it from the cinealta website, or from your dealer? At least that what it say on the cinealta site.

Just wondering if anyone knows if I can use the CVP file editor to adjust setting on my HDW 730, or is it strictly for the Cinealta?