Apu

Guys, the u/w shot that I needed has been shot ... I lit and operated myself with help from a professional scuba instructor who happened to be the directors dad. Rented a GL1 housing from Florida, $200 for three days. Once underwater, it took a little bit to get used to but I quickly got the hang of it and did multiple takes. Honestly, the hardest part was getting the GL1 secured inside the housing itself and opening the viewfinder so I could see what I was shooting. Don't attempt to do this without anti-fogging fluid otherwise your scuba mask will keep fogging up and you won't be able to see what you;re shooting. I was very pleased with the footage. I'll try to post some stills once the director gets me a copy of the DVD. Thank you all for your help. Dom, i've emailed u the details.

I'm just quoting Mr. John P at Kodak: "Water and electricity are a very dangerous combination: http://www.defence.gov.au/news/navynews/ed...n%20pool_th.jpg http://www.diveweb.com/commdive/features/044.01.htm -------------------- John Pytlak Eastman Kodak Company john.pytlak@kodak.com http://www.kodak.com/go/motion"

If any one you guys are ever planning on shooting on the streets or locations anywhere in India, check out Sandi Sissel's commentary on the DVD of "Salaam Bombay!". Oh, and of course I doubt I have to mention it but "Visions of Lights: The Art of Cinematography" is a must have.

Thanks Bob :)

Hi, Is there anyone here who happens to own a 3-chip DV camera w/ underwater housing willing to help a colleague on the east coast (Buffalo/Ithaca NY) out? I'm DPing a 10 min short which ends in an underwater shot. We're shooting the rest of the film on 16mm so all our money is going to Kodak, the lab, and on food/coffee. I'm sure everyone was a student or working for free at some stage so have been there, done that, know that situation. We've got all the other gear (lights-2K's/1K's/650s, an Aaton LTR/Bolex) but do not have an underwater housing to do this shot ourselves. Nor do we really have the experience to do this on our own. We have a pool secured (insurance/ medical expert - everything taken care of) here in Ithaca, NY (the college offers insurance up to $100,000) but are having real problems securing a camera/w housing within our budget range. We had a generous offer from a colleague in Canada but that ended up out of our price range in the end (plus it involved carting lights that don't belong to us across the border). Our school would be really MAD at us if they ever found out as we're not allowed to take school equipment out of the US. Up to today, our closest bet was AbelCine in NYC (they have an XTR Prod housing that could work with our Aaton LTR). Hell, I was even ready to call in some favours and beg for an XTR Prod body if it came down to that. But the director just informed me today that he doesnt have the $270 Abel is asking for that unit for one day so I'm sitting here banging my head against the table PRAYING at this point. Maybe if Abel were to come down a bit in price we could afford it but also there's the added time/money-loss of driving out to the city, picking up the housing, driving back to Ithaca, NY, shooting the shot (which is really simple - just one shot of the actor descending in water), and then driving back. I know, I have real problems, tell me abt. it. Ideally, I'm praying for someone to read this post, someone who LOVES underwater work, someone who doesn't really need money too badly or can empathize with our financial situation (I can pay you in Kind - cook you some real tasty curry), or someone who has always been looking for the chance to work more underwater ... We understand that nothing is free in this world. At the most Eric (the director/producer) probably afford to pay $100-$200 MAX for your gear/services which I know isn't much but what to do, we honestly can't afford more. It won't take all day, i promise. It's just one shot of a guy falling and descending into a pool. Sure we can take it several times but even then, maximum the shoot shouldnt go over 2 hours. We ARE willing to come out to where you are -- provided its not LA *grin* thanks ZZalgernoN for that offer -- cos that's too expensive and I will cook you the best chicken curry/channa masala you've ever had personally and bring you any indian spice/desert you want from the store I'm working at near Pittsburg, PA right now if that helps :). So if you are on the east coast/ near NY state and are chuckling to yourself at this brazenly desperate/woeful sounding post, and think you may be able to make an eager film crew very happy, please either reply here or email Eric Battin at ebattin1@ithaca.edu. My email for condolences/recipies, etc. is apuchandola@gmail.com. At this point, we don't care what format we shoot this shot in: 16mm, miniDV, whatever - we just really NEED this shot to complete the film. Please guys, if you can help, let me know. Even if you know any rental place on the east coast that does cameras/housings, that would help too as we can call and find out if we can afford them - I'm guessing most probably not though :(. I had a dream last night where I sunk a gigantic $150 mirror in the water and was shooting from the diving board ... take that Mr. Cameron *grin* Cheers! Apu

It's a halogen bulb ... so figure the color temps is probably in the 2900K and 3200K range. If i had a color meter, i'd be more exact

Thanks Phil, These things aren't bad for $24 ... i wouldn't go so far as to light an entire movie with them but i think they'de do a good job as a spotted edge/back light or if bounced, just to bring up the ambient tone of a room, esp. in a narrow space or elevator where wires can get in the way. They're cheap, small, quiet, handheld and charge by just plugging in the wall by the table with the donuts and coffee :) Apu

I have a 1 million candle power sport halogen spot. It throws a pretty concentrated narrow beam. In terms of luminance, is this baby more powerful than a 1K or a 2K fresnel? I know it seems like a simple question ... my eye tells me it is but i don't have my lightmeter with me at the moment so i can't do a footcandle-comparison. If someone were to answer this question, it would help: What is the "candle power" of a 1K fresnel? Thanks. I'm think going to use this wireless handheld sport flashlight in an elevator where wires cannot go. Has anyone ever lit with these before? I'm shooting b&w so color temp. isnt an issue this time.

Frank, Whats your phone number? I just talked to the director Eric and he lives in Buffalo so ur just a bit north from him. He'd like to speak to you -- it looks like we may take u up on ur offer. I doubt if we'll find anyone else this close to us. So yeah... just lemme know ur phone number and he'll give u a call. Unfortunately, I wont be able to make it across the border as I'm not a US citizen --- actually, my passport was stolen along with my jacket about a month ago and im saving up to get the $200 i need for a new one ... its so tough to save the little money I earn because now Storaro is comin to Boston and i cant miss that *grin*... u can see where my priorities are :) What lights do you own (if any?). I'll speak to u soon to finalize things. If we are coming out to you, two things we'll need you to look into (when you have the time) are: 1. We'll need a body of water (if u have a pool or know of one near by - great!) 2. The scuba tank (I'm sure we'll be able to rent somewhere locally, if u know anyone or a place, that'll be a big help) And yes it is cold out there at the moment ... I'll let you and Eric pick a good date to shoot this. Probably a nice sunny day would be the best. My warmest regards and we look forward to collaborating with you, Apu

Thanks Mr. P for that. Having spent some time reading through various forums, not just on this site, but on 2-pop.com also, I had a feeling you would be the first to respond. My warm regards :)

This discussion got started in the Jobs forum and I'm shifting it here. I remember when I used to make b&w still prints in the lab, I used different grade polycontrast filters to get the desired contrast. The filter factor depended on the paper I was printing to and I remember usually using a number 3 filter. Correct me if I'm wrong but more contrasty images would yield from a higher number like a 5. I'm just curious what would happen if one were to employ one of these polycontrast filters in front of a lens and shoot b&w negative. My colleague Dinko said it would make any yellow or magenta in the frame look whiter. Is this true? What would be the difference between a grade 3 and a grade 5? Would it affect any other wavelengths apart from yellow/magenta? Feel free to pitch if you have any thoughts anyone. I cant think of any situation where one would need to employ these filters in this manner but if anyone has more knowledge, please enlighten us.

Ooo 8mm w/ underwater housing...very cool... Although I'd love to take that road trip again (last time I went I-70 for most of the way), I don't know if we have the time or money to drive/fly out all the way to LA for this one shot. But if no one else replies than who knows - I will email you. Thanks none the less for replying. Cheers! ~ Apu :)

Haha, Dinko "I have a visual" Rupcic... long time my friend... well you know you spent so much time getting that underwater certification while u were stateside... im sure you could shoot it but you had to go back to Croatia to your Soap Operas now didnt you ... tut tut tut Anyhow the project is top secret so dont mention anything to anyone we both know.. no one at the university even knows im involved save for Eric. Keep it hush hush. This one will be special though, i can feel it my bones ... am shooting plus-x and sticking to a gritty noiresque look but not quite 100% noir.. will first bring up my ambient room tone levels by bouncing light off surfaces around me, then use a single source strong hard key on Matt Silver (the actor), and then employ a low soft eyelight/fill ... Silver plays a troubled mental patient on his deathbed Do u remember the photo room? Remember those density filters we'd use under the printing light. What would happen if one were in front of the lens? Would it affect my contrast on the negative like it does the positive? I'm just curious thats all. You cant change the shutter angle on the LTR can you? I believe its a 180 degree shutter ... i would like for less blur and was hoping for a 90 or 45 degree shutter but i dont know if thats possible with the LTR. Do you know of any other way to achieve this look with that camera, other than post? Good to hear from you friend. I've just discovered this great resource so ill be online a lot more. Its a great way to keep in touch with old friends in Europe. Give my regards to Ivana and keep your smelly ass out of trouble and lemme know if you get something big out there and need a clapper/loader. I've perfected my Channa Masala and Chicken Curry *wink*

If you are an underwater DP and are located in the NY/Upstate NY area, we need your services for one shot. The action is: the actor simply falls face first into water and sinks. The water can be anywhere- pool, pond, whatever - just has to be liquid thats all. The time of day too can be anytime - day, night, indoor, outdoor, it doesnt matter as far as the narrative is concerned. We're shooting the rest of the film on 16mm, with a 1:1.33 aspect ratio. I'd like to shoot this shot on 16mm too. If you own lights but no camera, all we have is an Aaton LTR7 at our disposal. I can arrange for a Bolex and if it really comes down to it, I can probably pull some strings and procure an XTR Prod body for a few hours/overnight (as I know the XTR has a housing for rent from Abel Cine) but it may be conditional (as in, someone else may need it back for their shoot after we're done). Please email me at apuchandola@gmail.com or call my cell at (917) 340-9020 if you are interested. This shot is essential to the narrative - so important that we are willing to rework everything around you and your needs. Our tentative shooting date for this shot was March 24th, 2005 and we have a pool in Ithaca at your disposal but we can easily change that to fit your schedule. We are even willing to travel out to where you are to get this, as its probably easier for us to bring our actor/lights out to you, than for you to come to us. Of course by "lights" I mean the ones you keep dry - away from any water. :) If you're too busy and can't do this one shot but know someone who may -- even if he/she is several states over, please do reply and let me know this person's name/contact. Once again, this is for UNDERWATER DP's/Operators only or anyone who know's any, preferably in or around the Upstate NY area. The rest of the shoot is taking place in Ithaca, NY and Buffalo, NY starting on March 24th going on till April 4th. Thank you for taking the time to read this. Yes, even though we're broke starving students, we will rustle together enough to pay you for your services, provided its not too outrageous, that is :)

I am looking to rent an underwater housing for an Aaton LTR7. Am not even sure if such a thing exists. I did speak to the guys at Abel Cine. They have an XTR Prod housing that they could modify to fit an LTR but they told me, ill have to provide a video-tap in this case which is going to be a problem as no one i know has one. We're probably going to end up going with Abel Cine in the end but i'm just curious and I thought i would throw this out there. If anyone has a housing built specifically for an LTR7 please reply. Or if there are any underwater cinematographers in the NY/Buffalo/Ithaca area with your own gear please reply so we can talk about a price.

Julius, Color reversal 7270 has a rating of ISO 25 with an 85B which is pretty fine grain. My best advice would be to take your light meter with you and underexpose a tad bit - 1/3rd or maybe even 1/2 a stop at the most for every shot. This will give you a denser positive afterwards for when you directly project it. Also remember reversal stocks are more contrasty and in the snow, well ... get your "actors" to perhaps wear bright clothing. Consider yourself fairly lucj if you do get to shoot at a T 5.6 as it is the middle of the lens and you shouldnt get any abberations. Plus the DOF isnt as narrow as when you;re shooting wide open (at a 1.9) but again, that depends on your shot as selective focus is an essentail storytelling tool in any dp's repertoire. I'm guessing you'll be going with buddies and this will be sort of a home-movie kindesque deal for u and your buddies later. If that is the case than i wouldnt worry about it too much. If you have a crew i would recommend reflectors and maybe take along a portable battery powered light for close ups/eyelight but im guessing these are luxuries you dont have. My gut feeling is your biggest problem will be focus, which is linked of course to exposure. You could minimise soft focus by sticking with a wider selection of lenses (10mm/12mm). I've never used the camera u have but if lighting conditions do force you to shooting wider open at say a T2.0 ~ T4.0 than try to stay wider with ur lens selection -- perhaps a 10mm as that will give u more Depth of field than were to use a longer 50mm lens. And if you are dollying the wider you are, the less shaky the image will appear to an audience. Do take along your tripod of course, and if you are going to attempt to use a narrower lens than lock the camera down before following any motion and rack the focus. Im hoping the weather prediction turns out wrong in the end so you can take advantage of the great gaffer in the sky and shoot some cool slow-mo shots. Overcast days of course mean lots of soft light and you may be concerned the image will look flat but the contrast built into the stock may help you out with that regard. Again Bright ski gear would greatly help :) Remember not to rush inside with the camera as condensation may occur. I read a great post either on this site or on 2-pop.com's forums about shooting in sub-zero conditions. This may help: http://www.cinematography.net/Pages%20GB/WINTER.HTM I believe the ACM also has some info on this. If you'de like to be extra safe and are worried about snow or maybe water/rain getting on the camera, you can build a fairly good plastic housing for the camera using a garbage bag, clothespins, an exacto knife and rubber bands. Just remember to take along lens cleaner and tissue should you have to clean the lens because you wiped out and use your common sense and dont go off a 20 foot vertical with the camera in your hands. Dont be afraid to move with the camera on skiis -- my friend shot an awsome looking snowboarding film with his buddies with Kodak 50D and a bolex. He got lucky - nice sunny day with blue skies - gorgous highlights and the films latitude read into the shadow areas beautifully. Plus he had the luxury of shooting fairly closed down to maximise his DOF so he could hand hold the camera with both hands around chest level with a 10mm and get some cool shots while moving both behind and in front of his buddies. Just dont go too crazy and go off 20 foot inclines but remember to have lots of fun!