Ari Davidson

Tree of Life

Diopters should do the trick.

Budget permitting: 5k + Large Chimera w/full white

Typically: Fat Man through tough spun.

I saw the HFR 3D version. It was very enjoyable.

You can approach it the same way, but it can't be altered as much because (if I remember correctly) 4:1:1 subsampling. Try to establish as much of your intended look in camera.

If shooting a short film, which camera would be best if I am looking for a sort of "film" look (obviously won't match the beauty of actual film, but i'm intending to make it seem filmic rather than video-like). I see that both shoot HD, but I feel the Canon could be better because of interchangeable lenses and I could achieve a shallow depth of field more easily than I could if I were using the Panasonic.

 

Also, how easy is it to transfer files from the Canon to Final Cut Pro?

Hands down, I'd go with the HVX. It's codec is much more robust. Unless you have some great lenses that are interchangable that you need to tell the story, you'll be saving yourself time and stress by not going with a 60D. There's more to the film look than shallow DOF, in which case it can also be achieved with the HVX by zooming in and backing the camera up. The HVX also captures in 4:2:2 which will give you more flexibility on the back end.

Hey guys. I am a 1st AC in Vancouver BC, and I already own a Bartech. But recently I've been finding that the performance of the analog motor is not adequate to my needs now. And the lack of a 2nd or 3rd channel can be a hinderance.

 

I would like to step up to either a preston fiz or scorpio unit, but don't really want to buy new. Is there a buy/sell somewhere online for focus pullers?

 

ebay and craigslist are virtually empty of such items.

 

 

Thanks

http://www.reduser.net/forum/showthread.php?85625-Preston-FI-Z-2-Complete-(HU-2-with-MDR-2)

I would try Shadowstone.

Hey guys,

 

I have a shoot coming up in a couple of weeks for a mock runway show for a fashion designer. The client wants to light the cyc wall in our studio space a cobalt blue color while lighting the models neutral on the runway.

 

I already have a diva light for the runway models as well as a track lighting system running the length of their walk with 200watt units in it. My question is about the color wash. I am looking into DJ led color wash lights in NY to light the wall, but I am not sure. I also thought about using Pars or Fresnels with party blue gels. Can anyone suggest one way or another? I want the rich blue, but I have a rather limited budget. whatever my Option id like to keep the wash under $100 for the day.

 

Thanks again

 

please see my example attached.

Rosco 125 Blue Cyc Silk on 1.5k cyc lights should work lovely.

Throughout the web on various message boards and blogs, I've come across lists of so called "best" cinematography films. Most of the time said lists have nothing to indicate that any such database is any thing other than one person's opinion. I think we need something a bit more substantial. I've initiated a survey in which you enter your top 25 films for cinematography, and then a script compiles the data into a ranked list based on the responses.

If you're curious like me as to what our field considers the best, please take a moment to submit your own top 25.

http://aridavidson.com/25

I don't know, a lot of that seems like composite shots. The depth, FOV, and light is just a bit off for some of the shots.

A few EVF's will allow you to do overlays, making match frames pretty easy. Combine that with some old school camera logs and you'll be in business.

Hopefully you can see this as I did in 4K projection, or 70mm. Amazing piece of work. I asked them if they will do another film. The response was "..very possible... but we need some rest." Ron is a 65mm only guy, but may go digital if it's improved enough by the next one.

 

http://www.theverge....son-review-70mm

Thanks for the 4k heads up! Baraka is my favorite film, I am SERIOUSLY looking forward to this one.

Ron might have to buy up 65mm stock while he resting seeing as it probably won't be around by the time he hits the road again

Since the 12 minute limit is due to the file system of the memory cards, could you just reformat the cards as NTSC (or HFS+) in order to get around the limit? Does anyone have any experience doing this or something similar?

No, DSLR cannot write to this file structure and will prompt you to reformt the card or return an error.

If your father belonged to any guilds or unions there should be some record of productions he worked on. I'd start there.

Going to try to shoot at f/4.0 and try to stay at 1600 ISO.

(25*(4*4))/(1600*(1/48))=12FC. According to their specs, 1x1 litepanel should be able to do this (http://www.litepanels.com/language/pages/onebyone_standard.php)

Good luck, bud.

Nice wides, but I agree that you must get a hell of a lot closer.

I really want to use daylight, and I'll put a sound blanket over the putt putt if I have to. My basic question is if you think 2 1.1 LED's OR 2 Kino's will give you enough exposure with the given parameters.

You haven't given us your intended ISO or aperture. Both are necessary parameters for determining if a light source is sufficient.

My answer is still, no.

How about a Joker 200? It runs on AB batteries.

I can't get a putt putt. This is all stolen.

I did something like this when I was in film school and broke. I used an "emergency" spotlight (walmart?) that ran off a battery or DC (provided 12v to cigarette lighter plug). It was advertised as 1,000,000 candelas.

Shooting with any non-continuous source will result in flicker, the head won't fire, or they will be damaged because they aren't receiving clean/adequate voltage. We tried mounting a 2x4' kino for something like this last summer and the ballast got boned.

Go to an auto parts store, check out their spotlights and inverters. Use TUNGSTEN.

Yeah, more like 20mph. Anyone else with suggestions? I am strongly favoring 2 1X1 flooded LED's. Will that be enough exposure?

I seriously doubt they'll have enough throw.

Are you insisting on LED because you want to run them off the truck battery?

http://www.filmtools.com/filmtools-mitchell-75-adapter.html

http://www.filmtools.com/mitchell-100mm-ball.html

It's actually more like 12-15 ft in distance from subject, not 18-22ft as I mentioned before.

I wouldn't use LED for this. If my hands were tied, I'd consider the Kino Celeb or Arri L7.

I would suggest a 2k fresnel for this look.

During a recent shoot using a Sony PMW500 set to 422 50mbps MPEG2 I was looking to shoot a character in front of a completely blown out window. I used no fill as I wanted over expose the image till the entire (large) window had blown to white. I found that up to a point the image was fine until blowing the last of the detail seen through the window. A red edge appeared all around my foreground subject much like a solid red ghost image. The red had distinct boundaries rather than feathering into the shadow detail.

Has anyone come across this and how might it be controlled. Given the hectic nature of the shoot I left a bit of detail in the window and exposed to just before the red appeared so that the windows might be further blown in post. I would imagine that clipping the whites might have worked but couldn't get it working on the day.

Is this particular to the camera system used or an HD issue in general.

 

Benjamin

Sounds like aliasing due to the bayer pattern.

Post a sample?

Hey guys, I shot this short film half a year ago. It was the first one I have done and without any knowledge of lighting or how to shoot it, so I just did what I thought looked good. It was made in 6 weeks from writing the story to the final cut and a budget on 300$.

I shot it on a 60D with a 24-70mm 2.8. We had 3 dedolights and 2 blondes available. There's lots of things I would have changed if I made it today after working alot as a electrician but we have to start at one point.

Please give some feedback if you feel like it cause I haven't really gotten any yet.

Allez

Regards

Nicholas Bluff

Thank you for sharing. It was a nice story with good visuals. Keep up the good work.

Can you post some tests?

Hello !

I need to balance some Panasonic 500 camera's with 4500K color temp . Which gel filter should I use in the lights to reach 4500K in my cam?

3200 to 4500: 3/4 CTB

5600 to 4500: 1/4 CTS