Luke Prendergast

Wow Chainsaw, the skin in that 2nd still looks great, almost translucent like a wax sculpture. I guess it was the UV and warm light combination. Have to experiment with that.

This varies with the angle of incidence. The less oblique the incident angle, the greater the reflection, so you can cheat this way as well. Clear glass acts almost as a mirror when viewed from a very acute angle.

This is the Movieforms location sheet. If you big it up the fields are readable.

...and you have a Carbon Arc lamp. Old school. Very bright. They smoke a bit though.

Color-coded marks - one for the spot, one for 6" over, 12" over etc.

If you can tether to a PC, WinDV is a cool and very tiny utility with the option to capture every n'th frame.

Hot lights, and poison the water.

It's handy if you actually put the subject in the subject line for the topic.

'The Shield' uses handheld very appropriately and effectively and I don't think the show could be done any other way, though there's a couple of bum shots in every episode. Great acting and script help a lot of course.

Make sure you have dimmable electronic ballasts for the HMIs.

But you need to make sure you rethread the camera so the flash isn't out by a perf or two with respect to the frame.

Push the run button and slowly rotate the wind handle. The screws need to be a fair way out to release the sprocket.

Search the site. It has been discussed several times.

A full stop is twice as much light, so f8:f5.6 is 2:1

It's a Canon 814. What did I win?

Ah, but an open-faced fixture is not a point source - it has a reflector behind it.

I take it you mean not affected by ambient light falling directly onto the diffuser?

A jelly bean assortment of cables helps identify what's what on set. When a cable has to be hidden in a shot I use black or white.

I don't know the particular shots of which you are speaking, but the twitchy 'Rheya-clone coming back to life' scene in Soderbergh's Solaris is very effective. The actors (Clooney and McElhone) acted the scene in reverse, giving a very odd feel to the movement.

I think that was the point. It's meant to be as though you're looking through a peephole. Sounds like a super idea to me.

'La Dolce Vita' is gorgeous. On the seedier side - 'Pi', 'Nadja'

PAL will get you 720x576 with direct frame-for-frame 24->25, versus NTSC at 720x480 and 3:2 pulldown.

They drift in color temp over their (x0000 hr) life, or is it short-term wandering, ie., unstable color temp? I've used only 150w MH fresnels and the light output is way more than a 650w tungsten fixture, and their 4000k only needs 1/2 CTB to get in the region of daylight.

Tobin have manuals on their site.

You need a locking-pin spigot thingy for the Mitchell mags but.