Jason Fobart

I'm coming to Miami next week to shoot alongside a print shoot for a hotel chain. Looking for a local A/C to add to the team. It'll be a pretty slim setup for us, (1) C300. Nothing overly complicated. If you know someone in Miami, or if you're in Miami, please drop me a note at jason AT jasonfobart DOT com Thanks everyone!

Profoto recently announced a new set of HMI's (at Photokina), but they probably won't hit the market for a few more months. If you can scare up a ProDaylight they're pretty great. But that K5600 Crossover is awesome. I've used it several times in the last month on 200, 400, & 800 Jokers. On the 800 I wouldn't use the grid, but I ran it with a grid on the 400 and didn't have any issues. And they're only about $150, so if your'e doing both stills & motion a lot, it's probably a handy thing to have in your bag.

Thanks guys, I appreciate the advice. In the past few days the footage has been sent to a second editor who's having MUCH better results- so maybe the first guy just isn't great at keying?? We'll see, he's diving in to the footage this weekend and hopefully I'll see a first pass Monday. re: magenta Yeah, I thought it made sense a bit, but if you don't have spill, then you've introduced MORE color issues in the other direction. Something to think about the next time I'm on a green set that isn't too big. And yes, I was working on a set that was too small on not properly lit- but when you've only got Y dollars to work and need to have X, you do what you can. Thanks again guys, and I'll be happy to take any other input.

I shot my first green screen band performance a few weeks back, unfortunately on a less than shoestring budget and we had to make a lot of compromises. Unfortunately it bit us in the butt and we've all learned a few lessons (including we needed more budget to do the green right! :-) But as part of diagnosing our problem with the keying in post, the footage was sent to a colorist for his opinion on if he could do anything to help the editor make a better key-out. The colorist came back with some suggestions for lighting changes on the reshoot, but one thing that caught my ear was "use + magenta on all your edge/backlights" Really? Anybody have any thoughts or tips on this? Basically overall the footage is unusable because we tried to wing it, and we failed. Oh well, I'm learning my lesson. But where can I do some research and learn more about how to light and rig a good green screen setup for a 4 piece band performance (ie, not just a talking head against a backdrop which is all I've been able to find people talking about on the internet). I need to learn how to do a whole sound stage, not just a 5'x5' wall. Any ideas on where I can learn this? I know that practice and experience are the mothers of all knowledge, but I need some starting points to work from because obviously I thought I knew how to sort of make it work (which I actually did), but the lack of budget didn't allow me to utilize a bigger space (for more room to work & light with) or provide enough sources for the different things I needed to do (background illumination, key lights, edge/back lights, etc)- I was using sources for multiple purposes and it only worked 1/2 the time. In another thread someone had suggested fxphd.com, but I'm not sure that'll be useful. It seems like that's more about learning to do effects yoruself in the computer, etc.... I just want to learn about how to light a stage versus a wall for chroma-key work. Thanks for your help guys, I really do appreciate it and any suggestions you can offer!

Got to watch a few minutes around the middle, over ATSC on a Sony XBR960. In a quick watch I thought it looked good, but in one scene the low-mids seemed really noisy. The old lady was sitting in a car chatting up some retired agent or something.... the shots of him, the low-mids (shadow side of his face) seemed noisy. Anybody else see that or am I just crazy?

I've used these lenses on 2 different projects in the last 2 weeks and love them. So much that I've placed an order for a 4 lens set with AbleCineTech! Can't wait for them to get in- I hope they arrive before my next gig at the end of the month so I don't have to rent again. But, I do think they're great, and a marked improvement over SLR lenses in about every sense.