Seth Applebaum

I'm a student at Emerson College and I'm very interested in trying/using the Hawk V-Lite16 series. However, I don't know what rental houses have them. Does anyone know of any rental houses in the New York or Boston areas that has the Hawk series, or any other anamorphic series for that matter?

We are renting a 1.2K HMI PAR and 12x12 silk. In addition to that, some of our larger sources are 2K fresnels and a 2K softlight. My gaffer was thinking that we would do a hard backlight with the HMI and then bounce that light back at the faces. If, as you said, the stock is going to react more strongly to the HMI, I think we should be in good shape. We also do have some fog machines that we weren't originally intending to use on the road, but now I'm beginning to think that a little fog could be very useful. In response to your suggestion, inder mann, I had considered shooting at twilight, but I don't think we'll have enough time. If we get into a pinch though, I thought about shooting during the day, underexposing, and possibly using a polarizer to bring the sky down. Does that sound like something that would be reasonable to do?

So here's my situation. I'm shooting a student monster movie on Eastman Double X 7222. One of the scenes in the film takes place on a backwoods road at night. While the closeups I've planned shouldn't be a problem, the wides have presented me with a lot more questions. Basically what I'm trying to achieve for the wides is a soft baselight, enough to bring me up to decent exposure and give enough detail so that the road and subjects don't turn to mud. As far as power sources go, we have a 6500w and a 4000w generator. I'm considering renting a 4K HMI SoftLight from High Output Boston, but I wanted some feedback first. The main objective is a very wide spread. Also, please bear in mind that this is a student film, so budget for lights and rigging equipment is limited. Any suggestions will be greatly appreciated. Thank you!

Thanks for all the insight guys. I think after a lot of deliberation I'm going to go with Vision3, mostly because I want plenty of detail to show up in the blacks. If I had the time and money, I would love to do a shootout, but unfortunately for this project it's not quite in the cards. Although, I am very intrigued by the "creamy" aspect of Fuji that I've been hearing so much about. When I get an opportunity, I'm definitely going to give the Eterna stocks a whirl, especially after I see what Vision3 yields for this film. One thing I think that I'm definitely going to do on this shoot is rate for 320 and overexpose a bit, just so I have those details to bring down in post.

I'm going to be DP'ing a short S16 student film project in March and I'm trying to decide on a stock to use. I've heard that Vision3 is a great acquisition format and produces colors very accurately. I've also heard that Fuji's Eterna stocks produces great skin tones and nice, pastel colors. The film is all interiors and I plan to shoot it with fairly dim lighting, so I wanted some advice on what stock would look best for the situation and give me the most options in post.