mrbill762

I just shot for a week with the HDX900P and it is an awesome camera.

It was my first experience with HD and what an experience it was. :)

Bill

SECT-FILM CASTING

The Southeastern Connecticut Filmmakers organization is

creating a digital database of all on-camera talent in the

CT/RI/MA area.

Everyone is welcome and we encourage new talent to

participate.

Because of the diversity of these projects in size and scope,

there is no specific type, age, or gender that we are looking

for. The productions will be on-going throughout the year and

since we have quite a few projects (short films / commercials /

music videos) on the slate we invite all those that are

interested.

So come on down and spend a few minutes with our team. If

you have a monologue, we would like to record you on camera

along with a dry reading from various scenes that have been

selected by our directors.

If you do not have a monologue, then we would just like a few

minutes to chat and get to know you and what characters you

inspire to play. Along with the video taping, we will also take a

digital photograph of you to keep on file? but if you have a

resume & head shot?please bring it.

The auditions will be held at: 325 State Street. The building

is next to the Garde Art Center at the corners of Meriden &

State street in downtown New London. Right across the

street from Hanafins Pub. If needed, use the directions at

bottom. Please arrive early so you can find suitable parking.

There is no appointment needed? the auditions will be

arranged on first come first serve basis. Please allow 30 ? 45

minutes for the audition. We will have two rooms running

simultaneously and each audition will last from 10 ? 15

minutes.

The dates and times for the auditions are:

SATURDAY MARCH 10th 11AM ? 7PM

SUNDAY MARCH 11th 10AM ? 6PM

SATURDAY MARCH 17th 11AM ? 7PM

SUNDAY MARCH 18th 10AM ? 6PM

Children are invited as well. We recommend for all parents to

aim for the earlier hours.. And again, we would like to meet

with the child and his/her parents for approx. fifteen

minutes.Even if you have no acting experience in front of a

camera, or maybe you've only modeled for a photo shoot,

please stop by. As you know this business is run by

relationships and we would like to meet with as many local

actors as possible.

Thank you for your time. We look forward to meeting you!

DIRECTIONS:

From New Haven Ct.

http://sectfilm.net/sectfm/From_New_Haven_Ct.pdf

From Hartford Ct.

http://sectfilm.net/sectfm/From_Hartford_Ct.pdf

From Providence RI.

http://sectfilm.net/sectfm/From_Providence_RI.pdf

Hello,

I am constructing a cable dolly for my XL2, thought I would post an image and get some comments.

Thanks,

Mr. Bill

Cost is not always the driving force of ?doing it yourself.?

Sometimes it is just the satisfaction. ;)

You should find all that you will need here.

I have bought from these folks with good results. :)

http://www.rosebrand.com/A_Com/showprod.cf...jectGroup_ID=36

Mr. Bill

I did a similar scene you need to decide if you want the talent to be seen or not.

If you do then you also need to decide how they will be lit.

We choose the driver to be dimly lit and the exterior to be properly exposed.

I used a PL filter and set the exposure to the days conditions. (Bright and sunny that day.)

What I achieved was a recognizable talent with a properly exposed exterior.

Do not forget to clean the windows and clean the dust off the vehicle interior!

If want to light the talent then some 12 volt Kino Flos or MR16 lights work well.

Don?t forget a reflector or two!

Mr. Bill

I have a shot where we are towing a car. What is the easiest way to film someone through a windshield and get a good exposure. We will have a wideshot of the car as well as closeups. I like to have alittle reflection of the trees going by but still be able to see the talent clearly.

 

In the past I have used a circular polarizer, put a reflector fabric in the talents lap for the moving wideshot. Closeups we did still with a black panel to keep from having glare on the wideshield and I kicked in light from one side using a 1k tungsten light with diffused daylight correction gel and a 500 watt light bounced off a reflector as fill on the other side and added a hard 500 watt backlight.

 

Any tips will be gladly appreciated.

<{POST_SNAPBACK}>

You can get MR16 lamps in some hardware stores however the will be very expensive.

I get mine on ebaY on boxes of 10 much cheaper that way.

I think you will want to get the 12 volt ones.

They run much cooler and are not as sensitive when bumped or jostled.

Also a power source will be easier to fashion.

Let us know how you make out.

Mr. Bill

Just do some searching on Yahoo:

 

http://www.surefire.com/maxexp/main/co_dis...r/367/sesent/00

http://www.surefire.com/maxexp/main/co_dis...r/362/sesent/00

http://www.streamlight.com/products.htm

 

Here's a photo of an MR-16 bulb:

http://www.ccl-light.com/docs/lamps/sure.html

 

You can find them in hardware stores or lamp stores.  Don't ask me how to wire them, etc. because I haven't tried it myself.  But it can't be hard to figure out. I guess you need a transformer though.

<{POST_SNAPBACK}>

So do both in your off hours film like us want to be filmmakers do.

Film the emergency people doing the job for training films.

Film documentaries to bring awareness of what these wonderful people really do(Yourself included.)

Film, film, film you have the technologically, the drive, the ability and the opportunity.

What more could you want?

Film Bill Film!

Mr. Bill

Sean,

Why not use two ECAs at 250 watt each or one ECT at 500 watts?

Both are rated at 3200K.

That said I doubt that you would see much of a difference between 2900K and 3200 K anyway unless the 2900K source was right up alongside the subject.

Mr. Bill

Contrast Viewers?

See some here.

http://store.yahoo.com/cinemasupplies/conview.html

Mr. Bill

Kubrick made him change back because while the framing was the same the perspective was not. It changed what Kubrick was looking for.

 

Mr.  Bill, that story is retold on the documentary film made by my friend Jan Harlan, who was very close to Kubrick.  The film is entitled "Stanley Kubrick: A Life In Pictures" and if I remember the episode, Kubrick wanted to use a 25mm lens.  The DP figured it would be easier to shoot it with a longer lens and tried to fool Kubrick into thinking that the effect would be the same.  Kubrick apparently took him aside and calmly said that if he every tried to do that again, he'd be fired.

 

(clip)

 

(forgive me for pursuing this thread to such a degree, but I very much want to be as sympathetic and knowledgeable a director as I can be when it comes to the cinematic elements of the filmmaking process over against the story/dramatic elements of the writing/acting...not that the two are mutually exclusive...)

 

Mark

<{POST_SNAPBACK}>

Mark,

Being sympathetic is nice but remember someone (you) needs to be in command of the production. An inability to decide or looking for approval for every lighting decision ( or any decisions) can quickly degrade into a loss of control and hard feeling when you try to regain it.

It is hard to express in words when you put your foot down and when you do not.

My best advice is don?t sweat the little things.

You are correct in the size of the lens my memory failed me.

However it is still a good example of when to be the boss and not the sympathetic director.

I was floating around a foot above the ground for a week when the Historic Fargo Theater choose my latest short film (I was the DP) to play with Dr. Strangelove in their political film series this year as I to look to Stanly Kubrick for some of my inspiration also.

Good luck have fun see you in the theater.

Mr. Bill

Hello again,

 

As some of you know, I'm not a DP but a director.  On my first film, I seved as my own DP, but probably will not on the next one.

 

So here's my question for you all: at what point must, or should, the director release the reigns when it comes to the camera?  Where does one draw the line as a director in terms of his/her vision for the film, and respect the decisions of the DP as to how a shooting strategy should be executed?

 

 

Mark

<{POST_SNAPBACK}>

Mark,

When it does not detract from the story you are telling.

In other words if the DP has a better, faster or easier way go with it.

If that changes the way the story is told or changes the how you want the shot to look then stick to guns and get what you want.

I believe it was in Stanly Kubricks second film he hired a top DP, Kubrick specified a 50mm lens and set the camera and dolly where he wanted it.

The DP switched the lens with a 100mm and moved the dolly back so the framing was the same, so it was easier for him to shoot.

Kubrick made him change back because while the framing was the same the perspective was not. It changed what Kubrick was looking for.

Mr. Bill

Here is my solution for lighting inside a car/truck/suv.

I made pneumatic auto-poles.

On them I hang PAR16s with 12 volt MR16 lamps using O-Clamps.

They can be powered from the vehicles electrical system or from an external battery/power source.

The auto-poles are telescoping PCV pipe 1 1/4" and 1".

To the 1" pipe I fitted a piston with an o-ring.

The piston is made ten thousands under, the o-ring grove was cut so the o-ring OD was ten thousands over the ID of the 1 1/4" pipe.

To the 1 1/4" pipe I added a tire valve from a mag wheel.

They can work in two ways.

1.) Put in place and add air. (Just like filling a tire.)

2.) Extend it, then collapse it so it builds pressure, place in the vehicle, let it expand.

Close-up View of clamp and light.

http://pennastudio.com/film/closeup.jpg

View from driver's side rear seat.

http://pennastudio.com/film/view1.jpg

From back of vehicle

http://pennastudio.com/film/view2.jpg

Mr. Bill

Setting the issue of green is better for video aside.

The chroma color you choose relates to the colors the talent is wearing.

I.E. if the talent is wearing blues and reds you use a chroma green, yellow etc.

If the talent is mostly green than a chroma blue, red screen is called for.

Look at the colors the talent wears and choose your screen or dress the talent to accommodate the screen you have.

Sometimes you just have to compromise and use the one that saves you the most work in post.

Mr. Bill

I like David Mullen's idea about the net.

However if that is not possible try using a graduated ND filter with the graduation from right to left or left to right instead of top to bottom. ;)

Mr. Bill

Mr. Okada- "Trust your eye and not the light meter".

To me this means do not toss out your meter, however do not be a slave to it either.

If your meter says f:2.8 and you feel f:3.5 is better trust yourself and your experience.

Remember your eyes and your meter, are both tools use them well.

The eyes and brain work together this makes them self-correcting, they adjust for color temperature, bring out shadow depth, depth of field, things you do in production and post-production.

The light meter gives you absolute readings it will show you variances that your eyes correct for; it gives you the base for your decisions.

In conclusion continue to use your light meter; however trust in yourself as well.

Mr. Bill

If Polaroid still makes a consumer B&W film get a camera and some film and do some test shots. :)

Mr. Bill

B&H has the Hi-Hats.

http://www.bhphotovideo.com/bnh/controller...e.x=6&image.y=5

Mr. Bill

Daniel,

Colorblind huh?

Back in the early 70s, I worked at a custom motorcycle shop.

We won tons of awards Best Bike, Best Paint and Best of Show etc.

We had feature articles in Chopper magazine and cover articles in other mags.

Parts were shipped in from all over the country for us to customize and paint.

So what does this have to do with a colorblind cinematographer?

The artist was colorblind. He over came it and so can you.

I am not saying it will be easy, you will need to work harder and persevere, but you can do it.

Good luck.

Mr. Bill

Mr Bill, when they stated it being waterproo to 10 feet, which website stated this for which cam? The www.bulletcam.com cameras are only NTSC unfortunately, I need PAL being in Australia. I'm also planning to use it to a surfers head also to get the surfers POV which I think will be cool too, so waterproofing is necessary.

 

haha, just j/k mate.... :)

Here is the FAQ page.

http://www.bulletcam.com/faq.htm

I maybe showing my ignorance here, but should not the camera work with PAL as well as NTSC? Is not PAL/NTSC for the recording device? If I am incorrect would someone please correct me?

Mr. Bill

thanks for the link...

I think they sell similar cameras at www.rfconcepts.co.uk

They have Sony 1/3inch CCD's 480 lines according to specs but I dont know if they're waterproof.

The sie you gave me a link to appears to have a waterproof bullet camera package but I dont know if they sell the camera alone...

From their FAQ

Is the Helmet-Cam waterproof?

All of our cameras have rubber-O-rings at each end to help prevent water from entering the camera enclosure. We think it's safe to say that they are waterproof to 10 feet.

Mr. Bill

Your post was intriguing.

Therefore, I did some searching and found this.

http://www.bulletcam.com/products.htm

Have a look and let us know what you think.

Mr. Bill

Just in case, you happen upon this type of light source. :D

I have a Western Electric Fast-X Hi-speed camera.

It's last calibration in 1947 had it at over 5000 fps.

It was reported to be from Los Alomos but I do not have the documentation to prove such.

So how much light do you need at 1/5000 @ F16? :rolleyes:

Actually, the 2" Cine Velostigmat Woollensak lens that came with it is rated as F2.

Some day I will get some 16mm film and give this camera a work out.

Mr. Bill

Manu,

Thank you.

I am off to get an education. :D

Thanks to all again.

Mr. Bill

Here is a couple from B&H

http://www.bhphotovideo.com/bnh/controller...ku=81947&is=REG

http://www.bhphotovideo.com/bnh/controller...Q=&O=&sku=50050

Are they what you wanted?

Mr. Bill

It depends on your video camera, but sometimes altering your electronic shutter can help with this problem. Most video cameras can only go to a faster shutter than the frequency of the camera, meaning that if you are shooting standard 60i NTSC in the US then your slowest shutter will be 1/60th. Going to faster shutter speeds may just make the problem worse, but it may also reduce the pulsing effect. You need to use the fine-adjustment for alterring shutter (called Synchro Scan or Clear Scan or whatever depending on the camera brand) to find the best speed for the situation.

Mitch,

The camera was a Sony DSR-250

I know it goes down to 1/30 of a second.

I will check on Synchro Scan or Clear Scan that you mentioned for next time.

We only had a couple of hours in the stations studio.

So we just shot around the LED displays.

Thanks for the reply.

Mr. Bill