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Paul Tackett

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Everything posted by Paul Tackett

  1. Yes! That was it, thank you. Such an awesome community.
  2. Hi, I'm looking for remote gearhead options with wireless connectivity to a laptop. I want to use it for Cinetracer as a good way to communicate shots in prep, as well as good practice. I've seen these before, just don't know the name or details and can't find online.
  3. Thank you Mr. Mullen! I really appreciate all your contributions to learning. Would a mirror still need to be used to prevent overheating, as you mentioned with a xenon? I would think this would be the case with large tungsten units.
  4. I cannot imagine this being a leko or jo-leko. The output is way stronger than those put out. I assumed it was some sort of par, but I would think that would overheat being basically straight down.
  5. What type of light do you think was used for this toplight, or if you know please share. From The Greatest Showman - Rewrite the Stars scene - shot by Seamus McGarvey The beam is clean and seems like a tungsten fresnel but has the punch of a par with maybe a very narrow spot. I would think that these would overheat though pointing straight down. What are your thoughts?
  6. Thank you David. Thats pretty high, great to know!
  7. Another question regarding this. Can a skypanel with the 3.0 update shoot flicker free at 1000 fps? Considering using a couple s60's and getting more top down light.
  8. I searched for topics similar to this and could not find an answer: I'm looking at potentially working with the Arri Studio T12 tungsten light, with the unit voltage range of 230V. I'll be working on a stage with 5 wire 3 phase power. How would I power it from the wall (300 amp cam-lok) for what I believe would pull 208v? Let's say if this scenario is correct, it has a 208v lamp. Would I just need a 100 amp 250v snakebite? If this is the correct approach, is the power relatively evenly pulled from the two legs? I would also have have threefers at the original connections so I could power a distro for other lights. T12 specs: http://www.arri.com/lighting/tungsten/studio_t/studio_t12/ Please let me know if these are the correct numbers and correct approach, or if I should be looking at another way of doing it on the stage's power. While we're at it, what would the approach be like for powering a 20k Mole Solarspot on a stage with this setup? 20k Solorspot specs: http://mole.com/media/images/catalogs/pdfs/product/data/4251.pdf Thank you in advance.
  9. I appreciate it, thank you David for all your help.
  10. With this in mind a 12k Big EyeSolorspot at full spot at 20 is 5900fc & 950fc full flood. Factor in diffusion cutting at least by half I'm thinking I could probably do medium spot and have exposure with one unit on the back edge
  11. Hello I'm lighting for 1000 fps. In the equation I originally compensated for shutter speed but I believe the following is now correct using shutter angle if you could please help if you know. I used the equation: 100asa at 180degree shutter, 24fps = 100fc at 2.8 For high speed I got: 800iso, 180degree, 998.4fps = 520fc at 2.8 Do I need to compensate for shutter or is this correct? Thank you
  12. How does the dynamic range hold up on the Dragon in comparison to the Mysterium-X? For example, say you're shooting at an ISO of 800, how do the highlights and shadows hold up in comparison to the Mysterium-X? This is a rather specific example but this is the type of insight I'm looking for.
  13. Yeah, I like both types of readings and don't want to carry around 2 meters.
  14. Looking for a good light meter. I know Sekonic is pretty solid. What type of meter is this one? Any clue? Looking for a good spot and incident meter if anyone has suggestions. Thanks
  15. Good to know. I was referring to tungsten but I did not know this. Thank you.
  16. What are some household bulbs with the best quality light? The GE Reveal bulbs have a high CRI but tend to be too blue. What other bulbs have a high CRI?
  17. Why is it that so many films with classrooms have the windows on the same side in relation to the students and the teacher? The windows always give a sidelight on the student's left side as in the examples below. Would there be a real reason or is it by habit?
  18. Paul Tackett

    Lightning

    I'm shooting a student film and need to create a lightning effect. The Magic Gadgets Shadowmaker flicker box is advertised as having a lightning effects programmed into it. Has anyone used this effect, and do you have video footage of it that you could post? Any advise on this would be helpful. The budget is too small to get Lightning Strikes or anything like that, and we're shooting on the Red so I don't want the rolling shutter from Atomic 3000's. Looking into a shutter effect with metal shutters, but if the flicker box works, I'd prefer that method. Thanks in advance.
  19. I'm looking at the Magic Gadget Shadowmaker. 6k max, 3 20A outputs. Its day rate is a little high for my indie budget. Would cheap store bought strobes be a good alternative?
  20. Can you create a lightning effect with a flicker box?
  21. I'm shooting a scene where a magic door appears in a barn. The door is opened from the off-screen side, white light shines through it and a character walks through into the scene. In order to do this effect I believe I'd need to blow out a silk behind the door for the white light, but how could I do this and still see the edges of the door and the background of the barn? I have a few ideas but I'd like some outside opinions. Thank you.
  22. Paul Tackett

    Red Iso

    Yeah I've heard the rumor that 800 has the best dynamic range, but I've also heard that all iso settings have the same amount of dynamic range, just a different priority over blacks or highlights.
  23. Paul Tackett

    Red Iso

    There have been several posts about ISO but I have not found this specific question. On Red's website they state: "For most scenes and uses, exposing with an ISO of 640-2000 strikes the best balance between highlight protection and low image noise." I have found that shooting at 800 on the Red Epic MX with the Redcode at 8:1, the image has a significant amount of noise in a dark scene. So, I'm wondering, does changing the ISO to 640 or 500 really make much of difference in the noise level of darker scenes? I'm talking about an image where there is no need to lift the blacks.
  24. Hello All, I'm trying to figure out how to shoot the following effect for a thesis film that I'm shooting at my film school: The concept is that we see a character inside a movie theater screen, running towards the screen (towards the camera); as he reaches a point he comes out of the screen into the actual theater. We don't see the bottom of the screen, and the shot is in a medium. We will be shooting b-roll of the movie footage playing, and are playing around with looking at luma key or chroma key, and will be expecting some rotoing in order to make the character come through the screen. Has anyone on here done a similar effect? Your advice is much appreciated. -Paul
  25. Thank you all for the quick responses. I really appreciate such a supportive filmmaking community. I ended up getting a replacement ballast for the 4k so it's up and working. It was a great discussion though in figuring out this problem.
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