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Josh Dunleavy

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    Cinematographer

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  1. This shot will be from directly overhead, with the dancer herself in the bottom 1/3 of the frame, and the shadow taking up the top 2/3 of the frame. So, I obviously need a strong/bright, hard source that creates a nice sharp shadow. The floor will be WHITE and approx. 15'x30', so this source needs to be able to fill up this entire space from a ~15 foot distance, and create/expose for pure white at 640 ISO, 1/240 sec exposure, f/1.4-f/2. Will an Arri 1.8 HMI with a wide lens suffice? Is there any other unit I should consider that can run off house power, is very bright with a WIDE spread, and is less than 30lbs? The light will be mounted onto a jib/dolly combo so it can move up and down, left and right.
  2. I've been offered a super low budget feature that would shoot in December or January. I have never shot a feature, but have shot dozens of shorts, web commercials, music videos etc. I would be missing out on a decent amount of work if I were to take a whole month off. My question is basically, is it important for a DP to build up a "feature resume"? I've been longing for my first feature in a while, but I was thinking it would have more money than this one does. I would be shooting it with my own Scarlet, and not making much money. So the main benefit would have to be if there is actual serious value in just getting a feature "under my belt". I do like working with this particular director, but I am a bit skeptical on how good the finished product will actually be in the end, given the abysmal budget. Any thoughts?
  3. Thought these were pretty funny/clever: http://filmsetmemes.tumblr.com/
  4. I'm shooting with a 12' time lapse slider - it's the Dynamic Perception rig, but with two 6' sections fastened together. Here's what a 6 foot setup looks like: http://3.bp.blogspot.com/_TufJDWGvofw/S_qBhLm2obI/AAAAAAAAApw/isYV1-0n4MU/s320/dynamicdolly.jpg I want to rig the camera/head UNDER the track, and be able to "look down/ahead" the length of the track, be it a push-in or a pull-out. It IS possible to undersling the carriage/head setup. The issue is, the camera will SEE the tripod, or whatever is holding up that end of the track. When it's not underslung, you just have to tilt the camera up a bit (like any dolly shot/push in). But for underslung, how could I rig the far end of the track UP in the air without seeing what is holding it? I've imagined C-stands with super long arms reaching in from outside the frame, or speedrail, or menace arms, I just don't know. Steadiness is a huge factor. As far as mounting points, I can easily get a baby pin to stick off of the track at multiple points via 1/4-20 to baby adapter, or cardellini. So there's that to grab on to. Preferably, the setup would be afforable to buy, and small enough to breakdown into a large sedan. I also plan to shoot with it in the wilderness. I do realize sandbags may be a part of the equation. Thanks!
  5. I've constructed a decent looking 600W Batten strip ("covered wagon"). It's a 4-foot long shelf board with 6 bulb sockets fastened to it, wired up with 6x100W incandescent bulbs. Obviously I need to be able to dim it. I bought something like this from my hardware store: http://www.fruitridgetools.com/fullView.asp?sf=y&nb=1&id='233160445'&img=http://images.marketplaceadvisor.channeladvisor.com/hi/58/57750/EA6000V-EA-2.jpg How do I wire this thing? All the instructions and videos I find are for wall installation - is it stupid for me to even try to build this into my light? I don't want to have to spend the cash on this, as it costs about as much as I spent on the entire light up to this point: http://www.filmandvideolighting.com/60diwhasq.html
  6. It's a music video, and we're trying to get a colored kino tube design in the background of one of the setups. My first question is: How far apart can you spread the 4 tubes from a typical 4ft 4-bank Kino when they're out of the fixture? I know they take the same feeder cable from the ballast, which then breaks out to each bulb, I just don't remember how "far" it actually breaks out. I'm assuming it won't be wide enough and we'll need a single bank unit for each tube. Any advice? Also, the director wants some tubes blue, and some blue-green. I'm thinking about renting the blue-screen Kino tubes and using some as-is, and adding some full or 1/2 plus green to the others. Is there an easier option? Do most rental houses (in LA) even carry those blue tubes? With the kino ballast on low-output, will the blue tubes still be too bright in the frame for a typical setup? I'd really rather stay away from ND-ing/gelling the tubes other than the plus green. Thanks!
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