Sam C Roberts

OK this should be an easy one to figure out but obviously I am having trouble with it. I am doing a movie where the main character is driving a car down a country road. Every once in awhile she stops and interacts with people but she is heading "home" (ie: a certain destination) down this road throughtout the film. So, so far I have shot the car moving from west to east in every scene with the car moving from left to right in the frame. The camera is facing north and the driver's side of the car is furthest away from the camera in relation to the passenger's side. For one of the last scenes I need her to pull over and enter a cornfield which is on the north side of the road. My question is, all things being equal (forget about where the sun is for now) for continuity, if I move the camera to the north side of the road and shoot facing south with the car moving now from west to east but still moving through the frame from left to right with the driver's side of the still car furthest from the camera, will I have a continuity problem? Even though the road has no yellow lines, she can't pull over from the south side and park on the north side (cornfield side) because that puts the driver's side of the car closest to the edge of the road which I don't want. Thanks, Danny

Once again David you come up with a solution to one of my problems....and as usual...thank you!

Hi...I'm editing a low budget short that was all shot with a #1 Tiffen Pro Mist filter. They ran out of money at the end and couldn't afford to rent the matte box and filter for the last scene and I was wondering if there is any software that can make images look like the Promist ie: raising the blacks slightly, very slight soft look and a bit of a glow on any bright highlights. It is RED footage and I'm transcoding with REDcine X. I tried playing around with the Alchemy group but it didn't look the same. Any suggestions? Thanks

great thanks, I'll check it out

The only thing missing from this video was an Assistant Diretor following the DoP around saying "How much longer? Are we almost done here?"...lol

Since know one aswered this one and I found out on my own, here is the answer. For most primes a single medium size or clip on matte box will do as they come with various sized inserts to fit most primes. For the big zooms and bigger primes such as the Canon 400 telephoto you need a larger matte box with larger lens inserts. There isn't (to my knowledge) a one size fits all matte box correct me if I'm wrong.

Thank you Stuart. No it is the orginal RED ONE with the original chip (obsolescence made obsoblete :angry: ) and rating it higher, esepcially at night makes the blacks turn to mush. I have been on a couple of shoots where we used 2 LTM HMI 1.5K Pars which are great as far as light output to power input goes and I did plug them both into 20amp residential service at the same time with no problems. But they are spotty and using the fresnel lenses that come with them cuts the light substancially. So it looks like I'll have to rent a generator and if that's the case what do you recommend as far as HMI's go? I want an HMI for that cold bluish look which I can get during color correction without making the smaller tungsten 1ks look too orangy. thanks again Sam

I have a night scene that takes place under a lamp post on a rural highway. I need to reproduce the light coming from above and am looking for about a 30ft spread over the road. I need a light with enough footcandles to allow me to work at around f/4 at iso 320 (Red One Camera) The light would be on a scissor lift that can go up about 30 to 35 feet. Of course the light will need to be able to operate at almost a 90 degree angle pointing down. Any suggestions on a fixture and lamp keeping in mind that being able to run off a 20 amp residential outlet would make life a lot easier and cheaper but if I need more juice to get that 30ft spread from 30ft up at f/4 I will rent a genny. Thanks. Sam

Thanks Gregory...yes the newer PL's are different.... it is only this one 85mm that I had this problem with.

Hi....I just rented a Zeiss 85mm PL mount lens and I notice that when you focus it the whole outside of the lens barrel moves forward and back making it impossble to use my Cinevate follow focus. How do you do follow focus on such a lens (other than by manually turning the focus ring on the lens with your hand?)

Hi everyone, I am shooting some scenes in a movie where I will use a .5 Tiffen Promist and a #1 Coral filter at the same time. I am using three different lenses (due to budget restrictions) for these scenes -a 14mm Zeiss prime -a RED 18-50 Zoom -and a Canon 400mm telephoto. In order to keep the look- ie: the 2 filters when using all these lenses, will most matte boxes be able to fit all three? Last time I rented the Zeiss it came with a lens shade which also held glass ND filters and I'm wondering if that was because it is so wide that it can't be used with any matte box. And what about the 400? When I rented it last time I used up the whole length of my RED 19mm rails just to support it (much less add a matte box---which I didn't use that time) Any suggestions?

Thanks David. The tungstens are Arri 1k's and 650's Only the cyc is lit with Kinos.

If you are talking about the way the picture looks and the dynamic range I don't think a digital camera will ever look exactly like film. However in post software may be able to make the two indestinguishable.

Hi......I am doing a shoot with a lone singer sitting on a stool about 15 feet in front of a large green screen cyclorama. Because I can only use the lights being made available to me I have daylight rated Kinos to light the green screen and tungsten lights for the singer. If I balance the camera for tungsten will this mixing of two color temps effect my ability to get a clean key in post? Thanks