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John M

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  1. I have a project that was edited on a Mac using final cut pro and in the Prores 422 HQ format. I need to get it into After Effects on a PC, while being able to see the timeline edits. I have no idea how to do this. All the color correction software is on the PC, this is the reason I want to do the transfer. Thanks
  2. Does doubling up gels just add stops? Or will it also alter color temperature? I.e I have a Lee 442 Straw filter that changes 6500K to 4300K. If I doubled that up would it bring the temperature even lower? Or am I just losing more light? Thanks
  3. I'm shooting a very low budget small project on DSLR this weekend. One scene is in the middle of the day with sunlight pouring through the kitchen windows, and there are tungsten practicals hanging from the ceiling. We do have some reflectors as I'm concerned about some shadow cast on faces. I do have a 6000K or close to that lED ring light I built and mounted on front of a matte box. I'd just like to know how best to deal with a mixed light source. Gelling the windows is not an option. A filter on the lens would either make one of the light sources to orange or to blue. Am I best just to try and avoid one of the light sources all together? Is there something I should do different when white balancing?
  4. This is my dilema. A couple of my lenses are Nikkor and Tamron fitted to the canon via an adaptor. So basically the camera has no idea the lens is even attached. Its pure manual. No f-stop reporting
  5. So how do you know what your stop is on a changing zoom? I have a Tamron 70-210 zoom thats a 3.5-5.6. I'm not zooming during the shot, but if I'm at the 100mm mark, how do I know what my stop number is? I assume that If I have F8 selected (on the barrel) I'm not really at F8? Unless the lens is wide open? Sorry if I'm making this more confusing than it is.
  6. So with a lens such as the Canon EF 17-40 f-4, which is a fixed F-4, if I set the focal length anywhere In that range my f- stop will be the same? I.e if I select f-11 then I'm truly getting f-11 anywhere on that lens. I have some old Nikon lenses that get darker as you zoom in. How do you meter and set your stop properly for that?
  7. How do you go about metering for a telephoto lens when the aperture changes as you zoom? I don't plan on zooming during the shots, but is an f-11 still an f-11 no matter what focal length your using on the lens? I've noticed some Canon EF lenses have a fixe 3.5 or 4 throughout the lens focal length, but I think the camera adjusts ISO and shutter as the focal length changes. This is for video use so the camera is in full manual. Maybe I'm over thinking this but Im confused nonetheless
  8. Is it better to use a pure white card or 18% gray card for white balance? Or is the Gray card used for exposure values only? My 2nd question is in regards to a sunset. Is it best not to white balance in order to preserve the natural orange colour for that time of day? I'm going to be using a T2i. Thanks
  9. Thanks for the replies. Adrian, I went with your approach as my Matte box has the Matte frame on the front that I can affix some L.E.D lights to. I ordered a 100cm strip of cool white 6000 K strip lights. I figure I can gel them if I want to play with colour temps.
  10. Looking for some idea for an eye/fill light with a matte box. I've built up ring lights that can slip over a lens but this is only good for one lens diameter. Is there any ideas for mounting something right to a matte box frame? This is very low budget DSLR shooting so the Kamio Flo 6 system, although ideal, is not going to happen. Thanks
  11. Well I went for it and gave it a go. Was on the phone for a little over 30 minutes. They are very interested. This is no A-lister but a little known.
  12. I do have a fairly substantial amount of Capital at hand. The reason I want the Actors input is because the script development is dependent on this particular person. I just want to be able to find out if something like this would be of interest to this certain individual. Then I can move on from there. All I'm asking is for 10 minuyes of there time to pass off a synopis basically.
  13. I heard this quote once, "Be carefull who's feet you step on today, for they may be connected to the ass you kiss tomorrow" Now I'm a nobody in this business right now. But who the hell knows what can happen and when. I never understood why people just can't be polite and respectuful. The person I am interested about has a Talent Agent and a Manager. I would like to see if there is any interest in the project first and foremost, as it is still in it's infancy in terms of development. I understand the whole Pay to Play idea but I'm just not at that point yet. This particular actors input is crucial to this projects development. Now should I be contacting the Manager instead? I tend to set my sites high. I know it's a long shot, but so were many succeses through out history. If I'm outright refused, I'll try again until I've exhausted all avenues. I just don't want to look like an idiot doing so. Thanks
  14. I know it may seem a simple question, but I've not contacted an Agent for the purposes of hiring an Actor before, and I was wondering if there is a certain etiquette I should follow?
  15. This is the system I'm considering using to do post sound for a feature. Just wanted to know if any of you have any experience or thoughts on this system? http://www.avid.com/US/products/003-Factory-Complete
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