Kate Wurzbacher

Thanks Rob. I just meant I didn't have the retainer ring on that shoot. We weren't working with Primos (had the uncoated SPs which were a blast btw) and the 45mm was a last minute add on. I'll ask next time I'm at Panavision. Have you used it or just seen it there?

Ended up pulling on Panavision's 45mm slant focus lens the other day. So much fun, but I had to ditch my FIZ and the mattebox (sadly no clip on retainer ring for that lens) and pull off the barrel while the op controlled the slant. It worked for the shot, but was a little messy. Has anyone had any success hooking up a motor to a slant focus? This is such an oddly specific scenario, but I'm sure I might run into it again with this DP. I was thinking you might be able mount a focus motor in the same manner you would a zoom control- directly onto the lens so it shifts as the lens swings without losing contact.

Yes it is processed. Thanks Adrian, Ill look into Cine.

I'm a student at Temple, and every once in a while have access to short ends or good deals on some 35. I also have access to several camera packages, so the problem always ends up being post costs. I shot a roll of 5219 last semester in class, but in the end the director decided it wasn't worth her money to get it transferred. I'd be willing to foot the bill myself within reason...any advice on transfers within a student budget?

Its really unfortunate, I used to film football and everyone uses those scissor lifts, regardless of weather. There's a really good article about the dangers of filming football and the sorts of things video coordinators get their students to do for good shots. http://espn.go.com/ncf/blog/_/name/mcgee_ryan/id/5740321/up-wind

I couldn't find any, but I picked up some extra wicks from an art supply store and used an awl to run them through the candle . It worked really well and I was able to control how bright the flame was by adding/getting rid of extra wicks, which was very helpful because I had a limited lighting kit!

They're two different projects so they won't be intercut, just similar setups. I'll try the 7219, thanks!

Yesterday I lit a scene with a girl walking through pools of light with candles in lanterns hanging in the background. We shot on the Red at a 320 iso and the director was pretty happy with it, but I had a problem with the candle flames. I was taught that practicals should be 2-3 stops above your keytone, but our flames were reading at a 2, and the only lens we had was the Red 2.8 zoom lens. As a result the flames were just little balls of light. I'm shooting a similar scene in the next few days- dark with a single candle in a lantern- and was looking for some advice. I was thinking of putting a gold reflector on the ground in front of the subject and bouncing light off that. Bigger candles maybe? I'll be shooting on the XTR prod and havent chosen my film stock yet, so advice on that would be welcome as well!

I worked with the RED for my first time the other day during a test shoot for an upcoming project. We had the camera long enough to shoot additional footage of the recent snow storm. I'm very interested in the idea of using those RAW files to generate some high dynamic range footage just for fun. I'm planning on rendering the footage three times at an ISO of 160, 320, and 640, and then combining them using a program like Photomatix. My question is, has anyone here had success using the RED for HDR, or have any advice? Thanks