Tom Jensen

I don't know if it's my monitor but I couldn't see much because it was so dark. I like to see the talents eyes.

Uh, because they are fake. Next question.

Actually it's an 8008. The model number plummeted along with the value.

For Sale: Nikon 2002 No reasonable offer refused. C'mon it's a film camera, film is better. :-)

I couldn't agree more with Karl.

In general, shooting with primes is usually desired because there is less glass in a prime lens than a zoom. Use filtration in combination like an 85nd3 for example instead of an 85 and an ND3. Always use lens shade or a matte box in conjunction with hard mattes. Neither of which would have helped in this instance. You can also use French flags and grip flags. If filters are the cause try sandwiching them together or tilting them forward. In a panavision matte box you can used three filters with two opposing trays. Just be sure not to drop the loose filter when you pull it from the matte box. Just keep in mind that a flare is light bouncing off a piece of glass onto another.

Very sad indeed. Kodak is iconic. Unfortunately, they failed to read the writing on the wall. For all of you that think that Super 8 is the wave of the future, think again.

Both suck. just kidding. I like both. The first for the reason already mentioned that it adds separation between the characters and the second for the depth that it adds. Seriously, go with performance of the actor.

In the article you sighted, Kovacs is referring to interiors. A couple of factors come into play. First, because of the advent of faster and better film, you don't need the amount of light that you did in the past. Sets get hot, make up melts, people squint and it is generally uncomfortable. So it's often advantages to shoot with the least amount of light that you need to light the set the way you want. Secondly, a lens performs optimally, in most cases about 2 stops closed from wide open so generally people shoot around a 2.8. That gives you both a nice shooting stop and a lens that is performing optimally. If you start to stop down you increase depth of field which is not necessarily what you want when shooting on a set because you a generally concentrating on a actor, sets sometimes have imperfections and for whatever reason, the wider stops just look good to the eye. You want the actors to stick out and be separated from the background at this stop. Your stop won't change that much once your lit. You light your master to your shooting stop and then you clean up your lights on the close up meaning you make small adjustments. You might bring in some fill light, add a back light, soften a key or add a hairlight or an eye light. What you don't want is to light your master to an 8, shoots your closeup at a 22, shoot an medium shot at an 11. It just doesn't make sense, it doesn't look good, it gets hot and like Laszlo said, light starts bouncing around. Your depth of field is going to change when you change lenses and when you change subject to lens distances but they really don't change the overall look of the film. A consistent stop helps the lighting look consistent. There are times when you want to shoot a little deeper on Longer lenses to help the assistant stay in focus but usually by a stop. There will also be times when you need to shoot wide open because you just don't have the light and those shots will look different. Not normally to the untrained eye but to the trained eye they will. ND's are for exteriors. Even outdoors you don't normally want to shoot stopped way down because you still want the actor to be somewhat isolated but you aren't usually hampered by the background being so close like on a set so you can shoot at a 4 or 5.6. If you put too much ND in front of the camera, you can't see anything. On vistas and wide shots you can shoot a little deeper because the subject is now the background and that is what you want to see in focus. Exteriors are often difficult to shoot because the sun moves and clouds block the sun, there are long shadows often a lot of contrast. You shoot exteriors with a large crew with lots of equipment that help you keep the light consistent or you have the exact opposite where you have no crew, limited equipment and you just have to get what you can and try to keep the stop close but it doesn't always work. When you have a big crew you can keep the lighting consistent but as the sun goes down the background gets darker and your actors start to look lit. Then you have to pull the ND's, then open up the lens and decrease your foreground light levels to keep it consistent. The stop changes but you really have no choice. The set gives you the most control and the more control you have the more consistent the footage will look. Hope this clarifies some things.

A few years ago after Linwood Dunne died, I went his house. Not only did he have every issue but they were in plastic sleeves. They were pristine.

Chris, have you been painting your nails again? Not that there's anything wrong with that. I wonder what's in it then if it isn't acetone.

That's acetone.

I can't see it but just clean it. You won't hurt anything.

There was some good stuff in there butt the flares drove me nuts. I don't think you started with very strong material. It dragged in the beginning then picked up.

Show her your "etchings."

Don't try to re-invent the wheel. There is a reason we use film lights in film and flash for still photography. There is absolutely no reason to heat up a room and use the crew and power needed to use film lights. You don't want people sweating. It's a mistake to do it this way. Rent some flash units and use those. Especially if you are shooting digital. You see your results immediately so you can make any lighting changes on the spot. I can't stress this enough. Rent flashes. You only need continuous lighting for continuous filming not single pictures.

It will be fine. You can either take the mag off the camera and put the cap on, stick it in a separate case or just leave it on the camera. Just make sure the locks are taped and your good. There is usually no light leak with those mags but keep it out of the light and away from the heat anyway.

What kind of camera is it. There should be no problem but I would keep it out of the light and away from the heat, If it has a mag, I'd tape the doors or covers.

Overall, I would say that if you are trying to get work shooting hi-speed photography, it's pretty bad. First, it's way too long for the limited material that you have. Use your best shots only. In the first section there are only 4 shots I would consider using. At 15 seconds,the profile shot of the girl in the water, at 18 seconds the 2nd shot of the guy getting splashed, at 20 seconds the girl in the water, at 32 seconds the girl in the water. In Capter 2, the molotov cocktail is the only shot I would consider using and it is debatable. Chapter 3, the peanut shot at 1:07, the tomatoes at 1:09, the milk at 1:13, the lemon at 1:22, the cherry in the cream at 1:28, and theberries in the chocolate at 1:30 are the best in that series. I would not use anything else in there. In chapter 4, the only shots in there that I liked were of the guy at 1:39 and the following shot at 1:40. Everything else is dark and uninteresting. In chapter 5 at 2:09 the wine glass is well composed but the lighting just doesn't pop. The lighting in general is not slow mo lighting. It's flat and it needs to pop. Most of the shots I picked out pop enough. You have to have highlights in slo-mo and these shots have that to some extent. The same for the shot at Unilux are strobe lights that are used in high speed photography that give sharp clarity to the picture. The water drops look good at 2:12 look good but they don't sell a shot. They don't sell anything which is another problem I have with the real overall. This is supposed to be a commercial real and if it isn't, it should be because commercials are where hi speed is used extensively. You should have loaded this with product to make it look like commercials you already shot. It's a spec reel basically and the people you will be showing this to sell product and they want to see how you will shoot a product. Their product. Look at the Unilux reel. It's not perfect. It's only 2:17 and look at all that is packed into that. The quality looks low. It looks like it was shot of a tv screen but your reel needs to look as good as this if you want to work shooting hi-speed. Also remember the most important element of high speed photography. You have to capture something that will be missed completely or almost completely missed if shot in real time. A girls stepping out of the car in simple slo mo might seem elegant in a perfume commercial but that isn't what I would consider to be hi speed which is what you are going after. You are trying to sell a specialty so only use those shots.Re-edit this or just make a separate cut of the shots I pointed out regardless of the length. You can stretch out the shot length a little but not too much. You will notice that overall the quality with increase immensely. I know you put a lot of time and money into this but you really have to put your best foot forward. If a shot doesn't work, it doesn't work. Don't try to force it just because you have it. Don't take this personally, but a guy sitting behind the big desk at a commercial production company or a DP agency sees hundreds or reels and you want yours to stand out above the rest. You don't want your reel to appear amateurish. Here is the unilux reel.

I can't really add much that hasn't been said. I know a few commercial directors that DP as well but they get a good operator and gaffer to alleviate some of the burden. But actors add a dynamic that needs a directors full attention. AD's aren't directors, they have their own work to do. Give it a shot if you want but something will suffer if your try to do too much.

That was slow motion.

Personally, I think you'd be way in over your head with a book like this. http://www.amazon.com/Optics-Photography-SPIE-Press-Monograph/dp/0819407631/ref=sr_1_1?s=books&ie=UTF8&qid=1322516262&sr=1-1 If you are looking to DP or be an assistant, there are plenty of things online that will teach you everything you need to know. If you want to learn how to drive a car, you don't buy a book on car design. Keep it simple, there isn't really all that much to a lens. The design has been done for you. That is the hard part. I think one of these Kodak lens books will be more informative and tell you everything you need to know. http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Dstripbooks&field-keywords=kodak+lenses&x=0&y=0.

Why do you need it? There are better books out there. It does have some info in it but it's not an easy read. Google it. try amazon.

Call a few rental house and see if you can pay a camera tech to pencil it in. That would be the easiest, cheapest, fastest way.

How about a Fisher Light? http://www.fisherlight.com/level2/balloon.html