Aaron Medick

If you have a doorway, western dolly, or even a wheel chair you can do nicer hand held from them. No foot steps to hide. I've also had good results using a cine saddle under my elbow to stabilize the camera while I walked with it and on a dolly hand held. Also don't lock you knee joint when you step. Hope that helps, Aaron Medick, SOC

http://item.mobileweb.ebay.com/viewitem?itemId=140840071786&index=10&nav=SELLING&nid=02769740122 If the above doesn't work there is a link in the Stuff on EBay thread

Ends tomorrow

Time to do little Fall clean up to make room for new gear. This is all my stuff. There are other items beside the ones listed. Casio EXILIM ex-fh204wt_1235 LETUS HAWK DSLR viewfinder SUPER TAKUMAR 135mm SUPER TAKUMAR 105mm SUPER TAKUMAR 35mm ADAPTIMAX EF for SONY F3 DVD Case of cases AB charger

So the real answer is we don't do HH with Pan Gold. The cameras do get very heavy and an attentive AC, kind DP and Director is every operators best friends.

Use large soft sources and large black rags to place your reflections. A dido straight over top may look nice. Is the table top also Blue screen? As Mentioned Heiniken bottles are green. The card behing the bottle may be good or bad. Ask your self if you should see the background through the bottle if the answer is yes don't use a card. Didos cold be great as back lights as well.

I can't sight a specific use, but it was very commonly used in commercials and music videos in the 1990s. It is a hard and warm bounce source. These days Clay coat and Ultra bounce are more common. They don't change the color temp much and are very soft. I would use the checker for a flashy project with metalic make up and possibly for dark skin subjects. For a narrative scene(naturalistic) I would use the ultra bounce or clay coat. hope that helps.

Those are certainly the ascetic reasons but the technical reason is the physics of light. Light is ray "like" not a ray so a topper helps it be more ray like instead of bounces all over the place. With out a topper you are getting reflection off of the ceiling and the light from teh head is traveling in directions that are unascetically pleasing so cutter lets us control what we want to feature or hide.

Looks like the moving cyberlights, streak filter, and that particular shot looks like a MR16 strip off of a few mirrors or a very nicely arranged cyberlight reflection. or a straight mr-16 reflecting off the mirror in frame then pulsing it from 40% to 100%, but it look like is spinning to me more than pulsing.

Jonathan has the right idea, back light and top silk. If you have the budget for an 18k HMI/or 20K tungsten head for side Key light and an Arrimax 18K HMI for back light, you'd have a better chance then with reflectors. Also if you can rig 2 20x20 silk/ bleach muslin/etc to 2 condors you'll be able to easily diffuse the sun as it moves. One 20 by per condor, to be clear. Keep your ratios in color temp and exposer and it will all work out. I know that is easier said then done. Good Luck. This is clearly a fast, cheap, or good situation. You can have 2 of the three at the expense of the third. If there is no budget for the proper tools, you will have to shoot wide and medium shots mornings and evening, then go into close up coverage during the middle of the day. Aaron

I believe the accepted way to do this is to hide your adjustment(s) in a 3 frame dissolve in post. You set exposure for the day let the sun set. Adjust the exposure for night. Depending on location/subject you may need to do another adjustment to compensate exposure for dusk. Make sure you don't move the camera while adjusting exposure. Use a good tripod, head and few sand bags. Don?t set up on a moving object like a suspension bridge, tall building, etc. if you do you will have to run the footage thru a stabilization software in post. Good Luck, Aaron

I suggest a lighting exercise. Take any directional light, film light or flash light, in your hand or on a stand. move it around until you have no reflections. Of course, you will have to add other lights to light the scene, but the exercise should give you a good idea of light placements. The additional lights may need cutters. Your other option is to create a desired reflection. Good luck. Remember, there is no right answer. If you put 10 DPs in a room with the same lights you would get at least 10 different looks. PS - if you don?t have access to the closet find a gloss black substitute, a window at night, black file cabnet, etc.

I'd agree with David. I have found wider aspect ratios seem to save money in Art Direction. In 4x3 we still have to pan, dolly, etc, so we end up seeing more set since panning in 4x3 will cover the same field of view as a wider aspect ratio. I work from the point of view that the pace needs to be lit no matter the aspect ratio. I would say that you can some times move faster with a wide aspect ratio because you can let lights hit the floor that would be too bright or ugly knowing the light will be out of frame. Just my 2 cents. Aaron Medick

If it is your first meter, go for it. I've never used it. I did just read about it. It will do the basics one needs to measure light for proper exposer of motion picture film. In my experience most of us use the Spetra Digital IV A check it out http://www.bhphotovideo.com/bnh/controller...;Q=&ci=4540

Nice work. IMHO, I think it is cut to fast. It is good to build a pacing in, but I find that producers and directors what to see a shot. I realize that it takes a while to build a reel, so if you don't have the material yet that is cool, but if you have a few really nice tracking shots, slow mo or something that last for more than 2 to 3 seconds I'd add that in. In the future I would fight to supervise the telecines and for better telecine machines. Some of you're images could look better this way you might want to consider do in an online color correct of you reel. Keep up the good work. you can see my old reels online at www.aaronmedick.com. if you are interested. I'll have new ones up early next year. Aaron