David Grauberger

Hello,

I recently picked up a desisti 1200 hmi with electronic ballast at a good price.  I didn't realize the bulb was the sealed par 64 kind.  (hence the good price I'm sure).  Just curious if theres a way to use the more affordable g38 base osram bulbs or similar?   I'm new to HMI so I'm not sure if thats a dumb question!

If not is there a good source for the sealed bulbs?  I'm seeing $500+ online....

Ive used the Source 4 Ellipsoidal attachment for Hive Wasp 250s and really liked that functionality for my work.  Wasps are roughy similar to 575w HMI.  

I'd like some more output from it though.  Has anyone ever used the same S4 attachment on an arrisun, LTM or Desisti 1200w HMI?  Seems like it should work the same but I haven't tried myself.  Not sure if it would be too hot, although the S4s can handle 750w tungsten and Altmans run up to 1k, so they are made to withstand some heat...

 Heres a pic below of what the hive+S4 combo look like:

Hello,

I've got an upcoming underwater shot.  Its a single full shot for the credit roll of 2 characters swimming underwater.   Budgets low to rent a full housing.  I was wondering if theres a probe lens of some sort to get the shot on our "A" cam (Alexa Mini).  Thought I had heard of this but can't recall.  It would need a 90 Degree turn to get the angle I want.  

Any ideas would be great!  I know Laowa makes a macro probe  lens, but Macro wont work for me on this... 

What do you guys think about a gimbal on a hostess tray?  I have dialogue scenes and I want drivers and passenger side 2 shots.  The car will be up on a process trailer but I'm wondering about road vibration.  I'm planning to do a hostess tray or similar setup with my key grip.  Will hard mounted be stable enough?  Or will I need to put a gimbal on the hostess tray?  Wondering what you guys think..

Looking for s2/s3 Panchros in good shape. Let me know what you have. 

Set or singles. 

Thanks!

david@daviddp.com

Good looking work.  Can I ask what your taking lenses were on 4773km?  Also whats the widest taking lens you can get with this setup? 

Thanks 

Thanks for the info David!

Thanks Bruce!  Great call. Are there speed issues with flying the black cloth, lighting frames etc..  Its basic dialogue, but wondering if theres a speed threshold to be aware of... 

Hello all, 

I've got a dialogue scene in a car and for several reasons we're thinking renting a process trailer  would be the best approach.   It'll be my first time using one however I've filmed several times out of trucks with jibs.  

Just wondering what pitfalls we might run into.  Its a Day scene.  It'll be a simple rural 2-lane road (two people on a road trip).  They each have lines and we're thinking of standard driver side window, reverse from passenger side.  Possible 2-shot from hood and maybe some coverage from behind with cam in the back seat.   It'll be a single cam shoot 

I'm thinking we'll be on alexa mini or red with an angenieux 16-42 or zeiss 15.5-45 for our shots.  

Any info would be greatly appreciated!  

email sent 

Looking to sell my Carbon Fiber Epic Dragon Brain. Its in great condition and has served me well. Camera and all ports function properly. At the moment I'm just looking to sell the brain, but if someone needs it kitted out, contact me for details, I could make that happen. Here's what its got:


Brain Alone.......... $8,500
Kit Price ............. $12,500

Epic Dragon 6k Carbon Fiber Brain 1663 hrs
Minimag Side Module


Full Kit includes:

AL Canon Mount
(2) 512gb minimags
5" touch
vlock expander plate 
Smallrig baseplate
Smallrig Top plate
Cables etc..
Skin tone OLPF
Low Light OLPF

I'm glad I found this thread as I've been thinking these things for quite some time now. I couldn't agree more with David Mullen in that a movie is not made by the lens choice. I've felt for way too long that too much emphasis is put on the tools/equipment/sensor/lenses while far less discussion is focused on the art and what is actually being captured. I think this is because its much easier and quantifiable to measure lens sharpness/CA/distortion/warmv.cool etc...

I think this is a fault that happens in cinematography, because the very nature of DP work is to blend artistic visuals with technical camera work. The debate becomes more obvious and ridiculous when you compare to other mediums.

Is a carpenter that much better because he uses Dewalt over Makita?

Is a chef that much better if he chooses a Bosch stove over Kitchenaid?

Is a painter that much better if he chooses hogshair brushes over acrylic?

Is a guitarist that much better if he chooses Gibson over Fender?

the tools have to be good enough (cant make gorgeous work out of nothing), but I do feel there is a threshold where it caps out.

For a while I've wanted to shoot a spoof scene with an imaginary Picasso and Monet arguing over which bristle brush is superior.

I agree with David that Emmanuel Lubeszki will be equally effective with Ultra Primes or Zeiss Standard Speeds or Hawk Vantage '74s.

Just my 2 cents...

Thanks for the feedback guys. I may have to go with the multiple CTO/S route. Yeah I've been looking at domestic bulbs that appear to be in the 2400k-2600k range. Amazon has some fun dimmable LED amber 2400k filament style 60w bulbs that may work well for practicals on set...

Just wanting something with more firepower for keylight/booklight use...

Hi everyone,

I've got a project and I'm looking to match color tones to the warm "filament bulb" look. Looking to take 5600k LEDs and work in that realm.

I've been playing around with CTO, but I'm curious if anyone else has found something that works? Not sure where filament bulbs land on the Kelvin scale but it doesn't appear to be 3200...

thanks!

Hello everyone,

I've got a director requesting anamorphics with the most about of breathing. He likes it for a stylistic choice matching the script.

We're interested in Kowa, but I thought I'd put feelers out there for others people have used? Specifically looking for anamorphics right now, but I'm open to spherical if someone can throw out a good idea...

Thanks!!

Thanks for the feedback Robin and Stuart. Thats good to hear that stadiums are changing over. Nice to get a nod from the lighting designers for the camera people. I guess I'll play when I get there on the scout and see what the damage is. Its in the US and hoping to shoot 120fps and up to 240fps. I was hoping to get to 300fps, but maybe we should keep it at 240 to help with the 60hz math. I'll update you guys on what I find.

cheers!

Howdy all,

I've got a project at a stadium coming up and we're looking to get some shots that look like this:

The entire project is high speed (120fps to 300fps) on an Epic Dragon. I plan to bring Hive lighting for our subject. But I'm wondering about the practicals within the stadium. We're scouting several possible locations, but in my experience, you just wont know what flickers until you boot up the camera and inspect the damage.

I'm not on a Roger Deakins budget of relighting the entire arena :) Does anyone have thoughts or ideas to counteract the potential flicker? I'd love to see the background (not turn them off and go dark), but I dont need the seats brightly lit. Just some detail in the shadows out there. And of course the dramatic look of them as practicals inside the frame.

These are in excellent condition. Purchased and they've sat on my shelf in original box and packaging. Flawless glass with no scratches. I just don't use them like I thought I would.

$350 each retail.

$250 each or all 3 for $700

Paypal with free CONUS shipping.

david@daviddp.com for quickest response.

note: these are 4x4 not 4x5.65

Hello everyone,

I just finished my reel with some cool shots from the year. Take a look if you have a chance and tell me what you think!

Thanks!

David

https://vimeo.com/240522433

Hi Macks,

Not sure which parts your asking about stabilization. I think theres a few different routes you could go. The movement needs to my eye dont seem terribly strenuous. Maybe just some sliders as he walking around? The locked off shots could easily use a tripod. If your wanting to be more fluid than that, maybe an easyrig to shoot those scenes handheld?

All sold except the 15mm. Email me if interested

david@daviddp.com

Hi Stefano,

Great work. I really got a strong compositional sense with good use of natural light. I thought it moved well and fit the music choice. My only critique would be to lose the shots with the 2 guys where the highlights are really blown out? I found them a bit distracting and not on par with your stronger work. Just a personal preference thing, but I bet it would be the stronger for it.

Great job overall. Opening shot is killer!

Hi all,

I'm trying to understand how compression and data rates affect the image quality. Doing some quick referencing (I'll use Epic Dragon sensor since theres a slew of stuff shot on that by now):

Epic Dragon

3K 16x9 ......................................... 3:1 ............ 534 MB/s @24fps

Alexa mini

3K 16x9.................................... ArriRaw........... 1342 Mb/s @24fps

3.2K.........................................ProRes 4444....... 787 Mb/s @24fps

I used 3k to compare to keep it simple and somewhat even playing field. Based on these numbers, I'm seeing the absolute best compression you can squeeze out of RedCode is still almost 1/3 the datarate of ArriRaw. Infact, its still below proRes4444 which many colorists tell me is quite enough dating to do a decent color grade.

If I'm understanding this correctly, Is this what makes Arri King of digital cinema? As Red climbs higher and higher into 8K Montro Sensor, I'm wondering if they are missing something? Is the data rate MUCH more important to get that perfect skin tone look that everyone craves from Arri?

Anyway, I'd love thoughts. I've been a Red shooter for many years, but I'm wondering if the higher "K" madness is somewhat of a gimmick. Arri seems to not care as much about "K"s and focus deeper on color science and (to put it into something quantifiable) data rates....

I liked your slow push ins and pull outs. Very stable and nice. Were those dolly shots? or some sort of gimble/steadicam? If steadicam, your op is amazing!

Yeah I agree the blacks were too lifted. Felt unnatural.

Looks good Tyler. Very "direction-less" fill. How far away would you say the whitecard is? laying on the ground? angled at the actors?