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Gav O Reilly

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  1. Does anyone know where I could download a copy of the user manual for after effects 6?
  2. Can anybody advise me on the possibillity of adapting 120 volt lamps to 240 to use in Europe?
  3. Gav O Reilly

    Good HD Kit?

    Hi, I was asked to have a look at this list of Video gear by a producer friend who is planning to invest in a kit for some upcoming productions - mainly drama. I'm doing my own research on the stuff, of course but i thought i should ask here if anyone who has used some of what's in the list has any opinions or advise you could give on: quality, cost, better alternitives, and if they're nice to use. Thanks Model JVC ACM-12 ½? to 1/3? bayonet lens mount adapter JVC GYHD101 Camera HD 720p/SD ? real 24p(Input/Out)Fujinon T16.5x5.5 BRM& T13.5x3.5BRM WA zoom-thru Vinten V3CP2 Carbon Fibre 2-stage legs & fluid head& Libec rear control zoom handle JVC BRHD50 HD/SD record /playback DeckHDV/SD switchable & multi-format cross converter ? w/ HDMI output JVC TM1010 9? AC/DC Monitor PAG C6 Sungun w/ x2 batteries EW112p G2 Lapel Wireless+ end-plug adapter Sony ECM77 / DC78 DC78 external power module PSC Millimic x 3 lapel mic Shure FP33 ENG stereo mixer Shure SM58 HH Mic x2 Sony RDRGX3/GX7 5 x DVD video decks Vdb806 Carbon fibre boom Sennheiser 416 ph48 shotgun Sachtler 350 light kit (3head)
  4. I've started to shoot more on video than on film recently and i'm trying to get around some of those typical DV differences. Can anyone explain the science behind the wider depth of field and level of detail in video? Thanks,
  5. Oh no, I'm not talking about camera filters. I've played with vasaline in front of the lens, fog filters and stockings etc. in the past and you're right, alot of the time it just looks OTT. I should clarify; what i'm wondering about is a range of Lee 'cosmetic' LIGHTING filters:- Gels, I think it might be a relatively new range. They look like normal diffusion gels with a colour in them (cosmetic peach, cosmetic emerald, cosmetic aqua blue, etc.) but they don't really throw a colour cast over what they are lighting. I imagine (I'm guessing) that they exentuate colours already in skin tones and make up, but I don't really know, so that's why I'm asking if anyone here has used them or how I might go about testing them. I'm espesially curious about the ones they call 'highlight' and 'silver moss'. I'd be gratefull if anyone has any knowledge or experience they could share with me, Thanks,
  6. I was recently given some samples of lee cosmetic filters to try out. I'm thinking of testing them in a bar scene; so that a beautiful girl sitting at the bar stands out from the people around her. Can anyone advise me on what tests to do with the filters and what colours to try for different effects? Thanks,
  7. I recently shot a student short film with Kodak Vision 250D. Because of reshedueling problems, i didn't get the chance to do the stock tests i had planned. My concern at the moment is the latitude. How forgiving is the stock in terms of detail, contrast and colour, when under or over expossed by up to two or two and a half stops? Thanks,
  8. Well I was thinking more of warm highlights and Black shadows. Since posting this question our access to this location has completely fallen through, thanks for the help though. Our backup location however gives us the option of shooting at night (with lamps). I think i'm gonna try and stay with the golden night look coz the director really liked the sound of it. Any ideas how to achieve this? Or recomendations on a good high contrast stock that's fast enough for night photography?
  9. Well there aren't really any practicals there that are feasable to use but I will look into the lantern idea. I also like the sound of the 'golden night'. I think a post grade would be the best way to achieve that though. If I were to try and exagerate the contrast, emphisise the shadows, as though the light was coming only from a warm street lamp: how would I control the overcast/soft day light to give it a harder directional feel? Also any tips on upping the contrast? (Shooting Super 16 - haven't chosen stock yet).
  10. Wanted to ask about using lightmeters if that's ok. I'm not looking for a 101 on them, i do know the pricipals: The incident meter, the reflected meter and spot meter and what they're used for etc. What I'm trying to figure out at the moment is more the practicals, and how the fuctions combine. Do these meters come as separate units? Are there certain brands better at one type? And can you get meters that also measure things like foot candles and colour temperature? That kind of thing. Thanks, Gav
  11. I'm trying to figure out a way to create a night look for a scene which was going to be shot at night, but we no longer have permission to shoot there at night. I know there are loads of ways to shoot day for night, and they have all been debated to death on these boards but there are a few akward points with this scene that limit my options so I'd like to get some specific advice. First there's the location: We can only have it for a few hours in the afternoon and we had to push hard to get that. It's a section of train track with a big black steam train on it and the actors will be at the foot of the train. At that time the sun will be in front of the camera and on the opposite side of the train to the actors. It's likely to be overcast and i am worried about the actors being in the gloom and shadow cast by the train. Second: There is an earlier scene in the film at that location but during the day. The night scene will have to look different, (not just underexposed). Third: Getting lights onto the site is a problem in that the location owners don't want us to, because of health and safety issues. (We're fully covered by insurance, really it's an internal politics thing). Fourth: No blues. The director has decided on a colour pallette of warm, golden, sepia tinted tones in which all blues are to be treated like the plague, so no blue tinted DFN filters. I'm running out of options now, so any suggestions would be GREATLY apprieciated...
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