Luke Prendergast

Haven't used Dedo's, but logic says - if the black side is toward the reflector, what is the reflector for? In my repair days I saw many assorted fixtures with a metal tab shielding the lamp on the lens side.

Most of those shots are more attractive, and certainly more interesting, before manipulation. Check out the Dove 'Campaign For Real Beauty' film - http://www.campaignforrealbeauty.com/flat4.asp?id=6909 Sorry, the 'insert link' tool isn't working for me.

It will help a lot if you can skate. Moving with the talent is far more interesting than just fast cuts and fly-bys. Blades are easier than a deck when you're riding a camera as well. If by HD you mean HDV, I suggest you test how the compression holds up with everything in frame moving so fast.

Don't remember where I heard it, and I could be wrong, but the total number of cameras Arri has manufactured in the SR series is only a few thousand. SRs are going for as little as ~$4kUSD; a clear indication of market demand for cheap, but not too cheap, 16mm cameras. Professional productions rent, low budget uses K3s and Bolexes. This middle ground is populated only by those passing through on the way up, or back down.

Still wondering precisely what potential issue 'Note: Pixel clock frequencies higher than 48 MHz may reduce image quality.' is referring to.

Check the orientation of the streak in the filters you're intending to use. The Tiffen I have is diagonal so needs a rotating stage for a horizontal flare.

Don't double, triple, ten times post please.

Manfrotto make a couple of gear heads intended for still photography. Might work for a small camera. Never tried one.

Very light duty 3-phase cable is handy for this sort of thing. There's a filament at either end to preheat the tube and excite the gas ready for firing. If you're using a magnetic ballast then you do need all four connections, but all electronic ballasts I've come across will work perfectly fine with only one wire to each end of the tube.

Wrong way round - pin 1 is -ve, pin 4 +ve. 2 and 3 not connected.

An RMS value is the mathematical DC power equivalent of an AC source. It has nothing to do with frequency reading. IMPORTANT! Any meter plugged into mains MUST be CATII or CATIII rated! There may be a 600VAC range on the meter, but if it's not rated for mains use you're tossing a coin for your life. I've seen cheap, unrated meters and leads explode and melt.

The few compact flo's around the house measure 18-22kHz. There's not enough room in there for a ballast of much lower frequency. There may be a small amount of 50/60Hz superimposed on the output, but not enough to be of concern.

http://www.cinematography.com/forum2004/in...8&hl=t-stop

Even easier and cheaper - why don't you just park your car in the background? Am I missing something here?

Freakin' Ridiculous:1

Hi Charlie, and thanks for contributing. There is a tag under the Frame Rate Examples table on the 9T001C page - 'Note: Pixel clock frequencies higher than 48 MHz may reduce image quality.' Is this just a resolution hit or something more sinister?

On many high-speed and gun cameras originally made for military use you use a borescope that fits in place of the magazine to view the image at the gate. There is no viewfinder because these cameras are not designed for use by an operator but for remote mounting.

The examples given are all odd frame rates eg., 20/27/34fps, so unless the software allows arbitrary setting of the pixel clock and/or resolution you won't be getting 'normal' video rates out of it.

If it's a big pool and a small (local) cloud of blood, I doubt very much you would affect the color of the water once the dye had dispersed. You could scale the values to test this in a cup.

Kieslowski's Dekalog too. I guess we're the only two people on the planet that atually like the triangular bokeh.

Where Ellen Burstyn's in the doctor's office for the second time. The behind-the-scenes or director's commentary discusses how they achieved this shot.

I haven't tried it but... two plastic bags and a can of Space Invader or similar expanding, space-filling foam might work. Vacuum the first bag around the camera, fill the space between the outer and inner bags with foam, leave to set, cut camera loose, add holes for controls, viewfinder and lens so you can still use the camera. Sound insulation requires static air between the source and subject.

Good thick COTTON socks can make all the difference to comfort. In fact I get around in socks on set when I think I can get away with it.

Congrat's! Don't want your magazines though.

A trick I regularly use for practicals with a shade on them, is to illuminate the shade from the outside with a profile or ellipsoidal spotted right in and cut with the shutters. It still looks realistic, but there is no hotspot from a lamp actually inside the shade, just the nice soft bounce.