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Nick Gardner

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  1. Hi, I know all of the theory, I have a long history of shooting at high speeds, both on film and digitally. I am interested in peoples real world experience working with flicker free ballasts. I had a job today where we intended to shoot with the studios Hive plasma lights. On a test day it was determined that they didn't have enough oomph to get an exposure at 930 fps (Phantomflex 4k). I had previously tested a modified ETC source 4 par with a 575 HMI globe and a german electronic ballast and found it to bee flicker free. Going tungsten was not an option, so on short notice we used 7 of the 575 fixtures. Initial set up was a 3/4 key 6x6 silk with 3 of the 575s punched through that, double edges one 575 each, and fill being another bounced into a 4x4 muslin. That put us at a t1.3 at 800iso 930fps 360 shutter. We rolled like that for the first half of the day. There was no pulsing, strobing, rolling bars, or other cyclical artifacting. Shortly after lunch we switched to a longer lens that was a 2.8 so we pulled some diffusion and marched some stuff in. The foreground lights were fine, but the light on the background was flickering a little bit. Again, not a cyclical thing but more wandering. We were unable to make it go away by swapping out heads or changing power to different circuts. As we were tighter we replaced that instrument with one of the plasma lights and marched it in. This got rid of the majority of the problem, but when looking at the waveform monitor, you could still see it jumping around a bit (but within acceptable levels. That was the only problem we had all day. I understand that there are no guarantees with HMIs and high speed, yadda yadda, but my gaffer and I are trying to track down the source of the issue since we were fine most of the day. I am wondering if since the light that was causing a problem was with a spot lens and no diffusion, and by it's self, if it could have been arc wander, but the fact that the Hive still wasn't solid makes me wonder if it was mains harmonics or some other voodo. Any thoughts or opinions would be apreciated. Cheers, Nick Gardner PS- The ballasts are Mitronics and are PFC
  2. Hi, I have an Elemack cricket in great shape, but I could top off the hydraulic fluid if i wanted to. It's a little low (not much). Should I just use standard hydraulic jack oil or is there a better alternative? Thanks. Nick
  3. Hi Olex, I am waiting on the lens to arrive, i'll send you some picture when it gets here. Thanks for the help ;-) Nick
  4. Howdy, I recently purchased a front element lomo 500mm anamorphic 35BAS14-1. Just wondering if anybody here has experience with it and any info. It seems like there are more than a few rental houses with this lens and there would appear to be a half dozen or so in private hands. Any info would be appreciated. Cheers, Nick
  5. The russian 25-80 is a great doc lens for 35mm sized sensor cameras. It was made by Ekran, then there was an optar version, and now I believe it is sold by Elite. 2 pounds, t3ish and very sharp. Nick Gardner
  6. I have for sale a set of K-35 super speed lenses. 18mm t2.8 24mm t1.6, 35mm t1.4, 50mm t1.4 These lenses are in BNCR mount. There is a dent in the filter threads on the 24mm. There are coating rub marks on the rear element of the 18mm. Asking $7000 please contact me at arrinick@hotmail.com with any questions. I'd be happy to email you photos. Thanks, Nick Gardner
  7. don't think that's what he's referring to. I think this is. And this. I think the episode was called "Triangle". Yup that was it. I actually spent all day today rehearsing a really long steadicam shot. We shoot it tomorrow. Was pretty surprised when I showed up today and found out we weren't goinf to roll today. I think you could handle the power issue fine for Red. My Mk-V d-box has four battery inputs, and really I think 3 90wh lions would be plenty. Cheers, Nick
  8. The question is why? It's been done, and it's very limiting. The famous X files that was 1 steadicam shot act to act hid I think 2 cuts. Hiding cuts is easy to do, and opens up many more options. From what camera you use, to using locations that are not actually next to each other, the ability to redo one part instead of the whole shot. Plus, your operator will do a much better job. It can be done, but I don't know why you would. Nick
  9. Reduser post with frame grabs from myster german quality lenses. http://reduser.net/forum/showthread.php?t=27624 Nick
  10. There are still shots of images from these lenses over at Reduser. They look nice. Nick
  11. Hi Guys, I have shot docs on the Red at 4k, but I had an assistant, and a compact zoom. Shooting hand held with the Red is very comparable to shooting on an arri SR -If it is set up the same way. Long Valley Equipment makes a LWS so that you can use the red with 60mm spaced AKS without a base plate. The flat bottom of the camera is just like an SR. Use compact flash cards instead of drives. You get the same amount of time on a 16gig card as you would on a 400' mag. The only real drawback is no fast small zoom exists that I know of, so you are in prime world for available light interiors. On shooting 2k - I think the Red is comparable to an HDX900 or Varicam in 2k mode. Plus, you have much more room to manipulate the footage in post than you would in the DVCPROHD codec. Also, Red in 2k can shoot up to 120FPS, which the F900, HDX900, and Varicam will not do. The Red footage does not suffer from the compression artifacts and banding that the DVCPROHD footage does. Also, you don't need S-16 lenses, 16mm lenses work fine for 2k. If your final output is TV (HD), 2k is fine. Do some tests, you may be surprised. Cheers, Nick Gardner
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