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jack king

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    Director
  1. Oops! Had no intentions of causing offense! It was a joke! i didn't even know who you were! I do intend to come back to this article and reap the benefits of knowing about which generators make more or less noise, i just thought perhaps detail was a little over the top for a post that didn't ask of generators - I never implied anything about scaremongering! I did say i found it useful though, i wasn't being flippant - i really do appreciate the time eileen took to write it (maybe it just seems a little too generous, i'm a bit of cynic when it comes to forums as half the time (not on this site) my posts get left ignored! My cyber popularity leaves something to be desired). Sorry guy. I really don't want to piss anyone off. I respect your profession completely and I hope that perhaps I could use some of your advise in the near future. Apologies again. Jack :)
  2. HI eilleen, satsuki and co...thanks loads for your responses. I'm going to take all this to my DP, i should be okay from here for now. really appreciate your long and detailed response Eileen. Just wondering, do you work for guy/honda?! A clever yet elaborate way to advertise perhaps?! Regardless, your post really gave me some nice ideas, and just taught me a lot about some things in general. And perhaps we will consider using the generator you mentioned, but I'm not that far along yet, and I doubt i'd be able to hire it from the place you linked, i'm in the UK! Cheers again :) Jack
  3. Hi guys, cheers for your helpful advise :) to all: The HMI's make total sense, I'm glad you've all said it now as i'll raise this with my DP when I find him. Although, if say - i were to make some allowances for sunlight - would you still recommend using the HMI's? Is this generally recommended regardless as otherwise there's nothing to say there'll be anything to bounce at a particular time/location? satsuki - your right. I want to shoot super 16, i don't know what it's like for low budget film makers over in the states, but over here people are always saying 'why on earth would you want to do that when you can use digital such and such?'. What do you prefer??? I've just found a link to a video with opening scenes that have the same color and feel to what i want the video to look like. - does this make things any clearer? I think its a gives a clear idea of what i'm after weather wise, even down to the council flats in the background. Thanks again folks. Much helpful. :)
  4. hi there, have a video shoot coming up in about a month. I'm going to look for a DOP to hire but I want to get some ideas about stuff first from various people - just so I get an idea of whether or not they know what they're talking about! First off - were shooting this on the red. It's either that or super 16, but i'm assuming it doesn't matter all too much at this stage. 90% of the video is going to be set in exterior locations - on a miserable day, overcast, grey and drizzly. I don't want any sunlight, as i'm assuming this will give me more freedom to darken the image uniformly in post if needs? And i don't have to worry about where it is so much? I imagine i'm going to save big bucks on doing this exterior daylight - mostly in open spaces - either on a street or on a large patch of wasteland overlooked by towering council flats. I want it to have the feel of a british kitchen sink drama - albeit it wont entirely be like that content wise. what would be my starting point? If the weather is right - and we simply capture everything raw (exposed to perfection) - am i just bouncing natural light around and/or grading the look in post? or is this going to involve all sorts of expenses I haven't forseen? My last project involved lighting a wilderness at night - so this seems like heaven in comparison. Am i right to be more relaxed about it? i'm hoping it means we can afford to shoot film. cheers guys - much appreciate you taking the time to share :) Jack
  5. firstly, just want to say thanks to all those people that advised me, and basically took their time to share knowledge on lighting for a video i directed in november last year. I'm really pleased with the end product and i'd like to share the link with you - http://www.vimeo.com/8655049 (or you can see it on youtube if you type in 'anthony sparke tape worms') It was my first time shooting something using industry lights (i gave myself the challenge of shooting in a wood at night partly because thats what i imagined when i heard the song but also to help get my teeth really into the learning process!) and the conversations i had on here helped me go through things with my DOP more confidently than otherwise and as a result we got the look I wanted. Let me know what you think if you get time :) I'm looking for advise on my next video to be shot in a month's time - i'll post separately once i've browsed the board for similar posts. Thanks guys :)
  6. Thankyou chris! pretty much all i need i think. Going to go with the duvetyne idea and key light. Should work fine. Cheers :)
  7. Hi again folks, lots of progress being made on the music video shoot if anyone remembers me. 3 weeks until production. Anyhow, quick question. Basically, I need to shoot some images of band members faces next week that are going to be projected digitally onto other peoples faces for capturing during the actual shoot. I need a strong image, shot 4:3, from round about the same distance it will be projected from. I'm using a canon xl1s and a beaulieu r16. Okay, so i'm wondering how I should go about lighting this and getting maximum contrast? A black canvas behind the band members head. Face painted totally white. Black lipstick. Black lens sunglasses. I need the contrast to be maximized as much as dammit whilst retaining total clarity. (its going to be projected on a bare white face with white lens sunglasses). Black and white film. Thanks so much for reading. Any advice would be greatly appreciated :) Jack
  8. Hi everyone Thanks LOADS for all your help. This has been massive help. Feeling alot better, but this has made me realise how much work is involved so i've advertised to get a dop/gaffer on board - and i will be discussing everything i've read here from you guys with him. I will post the video on the forum when it's done - sometime toward the end of november. I'll let everyone know how it goes - which suggestions worked best etc... Thanks again :)
  9. Thanks ziryab and satsuki - some really sound advice there. Looks like an inverter is the best idea - like your suggestion of xmas light satsuki - could string them up all over the place between trees to get some fill. Will use rope and hang lanterns from those to add. if we do decide to use a few small HMI's and maybe one or two kino's/fresnels/dedolights - can this all be powered by an inverter too? We need to do this as cheaply as possible, it's only a small production so we didn't want to have to rely on big lights and generators. I think with the above and some high speed film like you mentioned, we should be okay. We've got a HD cam with us and an xl1s so were not just relying on the 16mm picking everything up. cheers again!
  10. Hi there, I have a music video shoot coming up soon, and were doing one strand of the video in a wood during night hours. There is no industrial lighting, or anything. Also, not many extended length shots, which should make it easier. We want to do this pretty mobile, and the theme of the song is actually concerned with lights, so we were thinking of doing the whole thing using a mixture of: sparklers (loads of em - for close ups) fire (we would light a bonfire) fireworks (loads of these - the kind which 'spray blankets of embers', not rockets) Car headlights (2 cars) Chinese lanterns (about 50) Power torches (about 5) Maybe one or two small HMI's/Kino's if needs? Strobes (about 4) What do you think? Are we going to get some good footage here?! What problems might we expect? Were shooting on 16mm, 8mm, mini dv and vhs - like I say we just want some nice shots of a light- themed party in the woods; pretty much.
  11. Cheers folks - really big help Amazed by how knowledgeable people on here are. I'm learning...am sitting with the book 'cinematography' by blain brown; and the american manuals for 2 hours a day and i'm slowly getting there. Learning through practice is proving costly... Reason why i was asking is because tungsten seems to be default format, and and no-one has mentioned using 85 with my beaulieu even though i've shot everything outdoor during the day, (still haven't had this processed yet) and i guess i'd just expected to come across it in one of my books. Anyway, this was cleared up perfectly so cheers guys, and extra thanks for the links and clear explanations satsuki :) Jack
  12. hi there, just wondering where i might be able to get hold of some 85 filters? And is it one size fits all lens's? also, just wondering why it seems to be more important to use one with super 8 and not 16mm (my super 8's have internal filters, whereas my beaulieu r16 does not). I'm using tungsten with both, so how come no-one has said to me when using 16mm 'make sure you use an 85!'?? Cheers!
  13. Thanks again everyone Much appreciated. Feel I've absorbed some useful info. One thing that, if anyone ever gets time soon, would be useful to know: is the answer to whether or not i would be better off unscrewing the camera and taking out the internal filter (assuming this is possible), and then using an 85b instead. i'm doubly a little concerned as when i insert the screw where the electric light plug should go - the filter doesn't shift from the viewfinder - and i'm hence unsure if it has shifted from in front of the lens. thanks again. I'll update this post with a link to the results (assuming it comes out okay) if anyone's interested! Cheers :)
  14. Hi again steve thanks so much :) Right, i'm sorted. You were right, there is a socket on top of the cam where some kind of screw is supposed to go to retract the filter (something called a movie light plug) although this didn't come with my cam and hence the confusion. i guess I can just use a screw if i can find one to fit. I did try pushing it down with a needle however, and the filter doesn't disappear from the viewfinder - (the orange ball is still there) - but i'm assuming that it shifts away from in front of the lens? If that's the case, then i'll screw it down permanently and get an external filter like you say. If that's not the case and it's not budging because it's bust or something - should I remove it manually by opening up the camera??? Thanks so much again, i've ordered my stock and i'm ready for the off.
  15. Hi guys Thanks so much for the fast responses... :) Charles - thanks for that. I have no idea what speeds of film the camera takes. It doesn't say. There is an eye built into the cam and supposedly this does all the exposure work for me. Apparently it works, but i've yet to test it. I'm definitely going to go to the transfer to video route. I can't find the kodachrome 40 - so i'm assuming i'll just have to go with the ektachrome. Will this do the job all round then? Steve - Cheers for the filter tips - the cam does actually have an orange filter positioned behind the lens - i think it's a filter; you can see it as an orangey ball in the viewfinder. Is this to adjust the lens to shooting during the day if i've got tungsten? (in other words the same job as your 85b?) I'm a bit worried that there is no way of adjusting things manually. Right, need to get on with ordering stock asap so i can fit in a tester. Apparently the camera works fine. Isn't a popular one though, can't find much on it at all. Must be ancient... Cheers again. Get back to me asap if you can :)
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