Brandon Whiteside

Awesome! Basically what I was getting at was that I am going to have an extra roll of 500T and we are shooting this project on 250D. If I had to use this can in a pinch, making all exposure equal, would this go unnoticed. Thanks for your answers

I'm sorry, I did not specify that BOTH stocks would be 7219!

So, lets say I shoot most of my film on 250D, and I am able to get a free roll of 500T. If I use an 85 on that, I realize that t will drop my ASA to 320, and I will have to compensate my exposure. If i were to properly expose both stocks, would the difference between them go unnoticed?

The door will be blown out regardless, unless you can expose to like f16 indoors, and with that light kit, my guess is you might be at 5.6 or something. I would just take the 1k and use that as key, maybe get a 2x3 open frame and diffuse with that. I know you can just attach the diff to the barndoors, but that gives you less control. I would take the 650s and use them as fill and backlight, again with some diff on the fill. Then go and use your kino and lanterns as ambient/background fill. to remove that "orange" look, you will need to choose a source to white balance to. You say you have CTB, so use that on all your tungsten sources and balance the camera for daylight. Make sure you get daylight tubes for the kino (They have blue rings on the edges) then everything will be one uniform white. If you don't have the CTB the other option would be to balance the windows with some CTO. That would be problematic when you open the door. That's one way. Theres probably 10+ other solutions. If you are going for fast & easy, kill all the practicals, (cuz they might throw off your white balance) and open up all the barn doors, shoot everything at the ceiling.

Hahah! I read the article before I read your actual post and I laughed out loud at the same comment that you quoted.

Hey everyone! I am a film student who is shooting a short film in a couple of weeks on a Super 16 Panavision Elaine. I have never worked with film or a light meter. I am pretty competent in understanding the process, and I am not worried about royally screwing anything up or anything like that. I have made many films in the past, so it helps that I don't have to worry about making amateur mistakes. I have a demo at Panavision in Woodland Hills next week to go over how to operate and load the camera. I really just wanted to get any tips or tricks that you could offer to a newcomer when it comes to shooting on film / using a light meter. If i were going to worry about anything, it would be properly metering and exposing. That being said, we are shooting on 7219. Thanks ahead of the time for the tips!

Where are you at? I might be able to help you. I have a small lighting setup that could potentially work, as well as rolls and rolls of diffusion (The grips from West Wing gave me everything when the show was cancelled :P).

Somebody help me nail down the positives and negatives of these three setups. I'm shooting a two-camera show on the HVX200P. Which format gets you the most for your "money?" Money being hard drive space. Thanks!

the distro gets wired into the house.

I did not get a chance to read the entire post. I am looking for a book that will help me with exposure, film stops, and how to properly use a meter. I know a lot of aspects of setting lights and I am now interested in focusing on the "Film" aspect. Can anyone recommend a book from the list?

Would it have been feasible to either shut the head off at some point, or have it on a roller and slide it out of frame as soon as the actor exited?

You say that you don't have a dolley or crane, but could your perhaps rent a Steadicam? I have done 3 camera events with a side, front, and steadicam.

eBay and Craigslist are great. I prefer Craigslist because I can back out of the deal if I go and see the gear and it is not as described. I am currently disappointed with my latest purchase from eBay because the seller did a miserable job packing a Mole 2K. It came with a broken barn door holder and the light does not sit squarely anymore. I think it was dropped or mishandled by UPS. I also did not realize that the lamp was retrofitted with some goofy setup, and now I have to purchase all of the new electronics for it. If you purchase on eBay I would always use a real credit card and Paypal (then you have two chances to get your money back (Stop payment on the card and buyer protection with Paypal)). Good quality grip and electric is hard to come by because the stuff is so rugged that nobody is ever selling it unless someone has died. Hope that helps.

Thanks for the tips!

Yes, that should work.

Anyone else?

I probably should have asked this before purchasing, but I got this light for $50. Is the globe configuration standard for a 10" 2k? It's a type 412.

Thanks guys, i ended up buying them. They are great! where do you purchase the lamps for them?

Come on guys..anyone? I just want to know if B&M lights are good quality

I have found two B&M 650 fresnels for sale for $350 for both. Can anyone tell me about the quality of these lights as well as if this is a good price?

Ok, so my next question is, is a meter actually necessary for video? I don't usually shoot anything on film yet. When I do that exposure thing with the grey card, will the ISO i land on always be the ISO for my camera, or will i need to re test it each time I expose?

Hey guys and gals, I have two questions: 1. I am in the market for a light meter and want to know where you think a good used one or a new inexpensive one would come from. I dont have $500 to spend, but i do understand that money will get me less problems, etc. What is your opinion on which meter I should get? 2. What ISO setting do I use for video, specifically using an XLH1 or XL2 Thanks!

Hey everyone, I am trying to get a grasp on all of the diffusions and what they do. Can anyone give me a quick breakdown as far as the numbers and uses go? ie, why grid cloth over full white, what's the best when lighting for night, etc. Thanks!

We are shooting the first three weekends in November...We need somewhat of a beginner/person familiar with a fisher 11. I say beginner because there is not much pay. Even if you happen to be a student and are eager to learn the dolly, I could teach you the basics (because that's all i know)! Send me an email (Crew@C-41Productions.com) if you are even remotely interested! Thanks!

It bugs me that i have been in the same position; making a short with no money to pay crew. When you say, or imply that you have absolutely no budget, then you are not in the business to make films. I mean, come on, when is the last time that you have seen successful a film or whatever that cost absolutely zero dollars? Even if your budget is $100 for camera and light rental (and that works for you), you either need to compromise the budget or you need to wait another month, 2 months, whatever to save up some extra money. I call you arrogant because after the initial question was answered multiple times you seemed to try and come up with reasons why you should still not feed your crew. I find that offensive because after producing much of my own content, from money out of my pocket, I still came up with the absolute best craft service I could (not pizza, more like sandwiches, snacks all day). Trust me, a full crew is a happy, attentive crew. Think about it, you need them. They don't necessarily need you. They could sit at home for free.