Dustan Lewis McBain

Wow. that lens! Only thing is i can't find a place that will let me rent it :/ .

I think definitely using stern cans or some form of fire fumes in front of the lens. great idea. My only worry at that point is losing depth. In the sense that fumes would cover the entire lens, leaving all foreground middle ground and background together fumigated. Same as in the picture i provided I was looking to have the foreground in focus with the characters there. Perhaps using a more directional flame and point it at the middle of the lens, in a horizontal fashion? In any case I would probably just grab an extremely long sense and push back a bit. Graphics I need to look into as well. Interesting thoughts!

I'll do more research and If i find anything report back!

Thanks guys!!

Part of the script entails the concept of a madness, that lies within the jungle. Within context, the jungle appears extremely hot. What I'm trying to achieve is to film the jungle from the outside looking in, and I'm hoping to have a mirage, or a refractive heat wave, bouncing from off the ground up. Attached photo is basically what i mean. Does anyone have experience in filming this type of image? I get the basic concepts of a mirage, but I want to be sure of how to go about capturing this before I get to set. Thanks,

Interesting comments. These lenses are used on a bolex 16mm. I'll try out the light meter trick, however, this camera doesn't offer that much light out the viewfinder.

I've also just completed a test, and the result with only the 10 mm lens, and then the 6 mm lens did not have much difference in light loss (at least not by a stop, anyway). So, it would appear that focus would now be my main question - and if you factor in Chris' comment of 'sucking more into a lens', perhaps the lens remains at it's base lens focus (in this case 10 mm) and as an addition, the frame is provided a wider angle. So, given that the 10 mm lens contains the preferred depth of field, adding a 6mm adaptor will offer more viewing to the scene. Seems like a bonus to me...

Hello Ladies and Gents,

When using an adaptor, 10mm to 6mm, is there a specific method or chart to follow when attempting focus. Is there any difference in depth or light loss to factor in. Although the lens is refocused to a different size, im worries that the focus will be slightly off if i simply follow the 6mm charting ratio's and such. Best,

i Just bought a bolex h-16 with a crystal sync motor. My issue is that once I turn the motor on to get the camera rolling i need to hold the cameras record button aswell or else the motor jams and my fuse breaks. Now that I've run out of fuses, does any body know of a better way to shoot without holding both the motor and camera button to shoot? Thanks,

I just saw a production photo where a rainbow bounce card was used to light the scene. Any thoughts?

Im shooting a series of nike spec commercials. One Ad is set by a pool. Any where i can rent an HMI near the North east. Specifically Montreal, Canada or New York.

If you'd like to become a cameraman, I'd suggest buying a camera (as opposed to spending the money on school) and jumping into the business. School is a great path, but technicians more or less work there way up the charts. But both are great options.

I'd go with Zeiss. Here's a raw snippet from a portrait series that I'm currently working on -- and yes, even if I have a few L glass as well, I mostly end up using my Zeiss lenses. Notice the nice DOF:

 

http://www.vimeo.com/25851323

 

-- peer

 

 

Interesting. What did you shoot this on?

You could try and ad a filter, but then again, you could do all this in post.

I was reading Aprils American Cinematographer and the Mildred Pierce articles describes the mini series as naturalistic due to its longer lenses. But are these lenses predominantly used for a naturalistic look?

Depending on the color temp of the practical lights, id recomend econo-watt kinos mixed with day light kinos, and ltm 200/400 hmi's for kickers and rims. I you have room for a window get a 1.2 hmi also. You should do fine

I was wondering if anybody knows any websites that give specs on all tissues used in film like grid cloth's and diffusion. Technical specs such as stops of light... Thanks!

Zeiss primes or Cannon L series. Final product will be sent to festivals and such, so need to decide if spending the money on zeiss lenses will actually make a large difference. HELP! :)

Im shooting a short b-roll clip of statues. My goal is to portray these statues as revolutionary bandits - so to speak. Attached to this post is the picture of the statue. Shooting at night, partly because i don't think i would get away with this during the day. However, my question is lighting. Shooting on a t2i (550 d) 16-35 mm ef 2 usm, does any one have any ideas apart from shooting with just night light? Cheers, /Users/pimpgoofy/Desktop/10070861.jpg/Users/pimpgoofy/Desktop/10070861.jpg

I agree with andrew, that its all preference. However, depending on what your style is throughout the scene, I would consider using practicals to set the ambiance of the scene, and allow non practicals to set the mood for the objects. I am a fan of keeping it as simple as I can and tweaking the small things, such as eye lighting.

Depending on what TV show your talking about, sit-coms are generally geared for story line, rather cinematography. So I'm not so sure that this type of picture is the best example for how someone could light their given scene. However, shows like true blood and mad men definitely have a distinct look and place a lot of attention to their lighting, but once again, the image is stylized to the given theme their attempting to convey.

In a scene were i wanted to convey contrast between light and dark. I'd apply a ratio pattern; say 1(dark):4(light), doing this might allow my practical to overexpose, in which case this would give my scene a certain characteristic.

TO conclude this thread, the existing globes were econo lights. Although I didn't rent the same lights i did get my hands on cool white and 55's attached to a 4 foot kino flo. Worked out perfectly. For key and fill I used 2 LTM 24 watt hmi, which is a phenomenal light.

I got my hands on 2 ltm 300 watt hmi's for kickers and back. Kino Flo movie tone 55 and a 1 k tungsten redhead just in case with a kit of gels. I tried seeing what kind of lights the school was using however they were closed, but my concern is matching the lights to scene. Will HMI's that are gelled with cto or + green stand out or fit right in. Thanks,

Thanks mat, very helpful. The short is a comedy that is stylized to appear as a cheesy tv show. Although dimming the lights and creating an experimental film noir look would be f. awesome, the script does call for bright exposure. Also were gonna be shooting with 2 cams so might be best to keep it simple. My task now is adding the right amount of green and cto to existing globes. Any ideas?

About to shoot a scene in a college class room at night with a full crowd. Tight Budget. Wondering if theres a better way to light the wide scenes then just keeping it natural. Close ups i was thinking kino flo's. Depending on schedule, the scene might be shot during day, causing us to close the blinds so exterior light might not be an option. The only source would be the top Florescence.

perfect, thanks!

So basically im working as an operator on a feature, and the directer asked to use my camera. Seeing as this is a low bidget indie flick, im wondering weather its worth it. i've already shot myself in the foot about saying yes, however I was wondering if anybody has had any experience on this. Im worried that if for some reason my camera brakes, or anything of that nature that I wont be provided for. Is there a procedure to go about using your prudcuts on sets. Should I imply certain things to the director in terms of securing my camera, or should simply say no.

Thanks!

you should do fine with that set up. Just make sure you have enough juice to power all that up. Also for your 2k. Think about getting a mombo-combo, sky-hi, (basically a big stand) and use that light as night? maybe a street lamp. You should get enough light from there. To achieve the contrast you were talking about, you might want to stick your 2k in the BG as to add the most contrast. Cheers,

Brian i like how your support your porfile pic! lol all to say, anywhere where you can find work and establish contacts after. Everything else you do yourself.

Funny I pulled up on this convo, last night I had a nightmare that I opened up my mag by mistake lol...

Sorry, next time ill post with context.