Brian Wells

No doubt. But here's something to keep in mind. A couple of years ago I bought some Kino Diva 200's for $528 each, plus a Hardigg Case ($200), and lamps ($150-200, I think). I used the lights for about a year and then sold them on eBay for $1500, plus shipping. After it was all said and done, deducting all sale-related expenses, I owned the lights for well over a year and paid less than $100 that entire time. Being in business for yourself, it's hard to predict exactly when you might need cash on short notice. Owning (and liquidating) name brand goods can be an excellent source of generating cash in a hurry. Kino Flo lights hold their value better than almost anything out there (Dedolights, too!). The value of low end gear doesn't even come close. Something to keep in mind.

Hi, For *most* cinematographers, that method is not simpler, IMHO. Hope this helps!

GAM makes a self-adhesive backed ND gel (WindowGrip?) that should work well for that. Has anyone here used that product?

Whatever you do, avoid the Shadow Telecine. It is not truly hi-def (at least not from my K3 footage). In fact, the Cinelab transfer of the same footage (using a Rank Turbo) looked about 90% as good/sharp in Standard Def as the Shadow looked in DVCPro HD, at 1/4th the cost. I am not saying the Rank is a great telecine, more along the lines of that the Shadow was a huge disappointment. Hope this helps.

I have that meter (L-608, non-cine) and it has a lot of nice features and is simple to use as long as you have a general understanding of exposure. So far it hasn't been very reliable for me. Maybe I just have bad luck, but the electronic display inside the eyepiece of the spot meter has "shifted" down about a half inch, inside the device. Needless to say, on mine you have to look at the exterior display to check the spot reading. Frustrating to say the least, especially since this is one of the more pricey meters around. All that to say: the more complicated a device becomes, the more likely some part of it will break.

There is no doubt in my mind that you are capable of shooting a good looking movie. But, realize there are only a few hundred working cinematographers in the world. You have to be real good with people to rise to the top. There are thousands of good looking movies shown at film festivals every year. And new people enter the field all the time. They all think they will be recognized for their efforts and be offered more DP work on increasingly upscale productions. A more likely scenario is that you shoot a good looking low budget movie and be offered some PA work on a higher level production as a result. But, that's not so bad, is it? ;)

What kind of education do you think you need? Only networking will get you into the film industry. What matters is that you get along real well with people. If you do, you're much closer to finding work than someone with a lot of knowledge that no-one likes to be around, imo. All the technical skills you need to know will come to you with experience, but a positive attitude and solid work ethic (can-do attitude) are the most important skills you can bring to a set... those are the skills people are looking for in new crew members.

Can you make acrylics look like oils? Or how about making ink look like pencil? Film look more like video? You should embrace your brushes for what they are and what they can do. Trying to make them look like something they are not is foolish and misguided.

I fully anticipate once Arri is done "testing" the D-20 as a rental only item, they will introduce some digital backs for their film cameras. If they don't, someone else will. Super16 is awesome, tho. I recently saw a demonstration of Super16 and D-20 on a Cinetal HD monitor... Let's just say digital cameras are a hard sell as far as image quality is concerned... Where speed is the #1 priority, digital is clearly the winner, obviously.

The morning EXT of Palatul Poporului was nice..

You should feel good about your decision. Dedolights are a sound investment in your career with strong liquidity for when times get tough.

It's ok. You're an old pro, much older than me, in fact. My post, however, was addressed to someone who made several references to private ownership of the camera by independent filmmakers with tight budgets, not professional cameramen with six figure incomes. I made no assumptions about the RED reservation holders. I only addressed one particular post. I'm not bothered by your response, in any case. Sincerely,

I mainly use them for edge, fill, and background lighting. Working with dedo's allows you to be a sort of lighting designer for interviews. Can you imagine lighting a theatre performance without dimmers or projected patterns? I can't imagine lighting an interview without them, either. I also have a soft box with fabric eggcrate, but dedo's are the only small focusable instruments used. A good start is buying any kind of softbox with fabric eggcrate, flexfill, a DLHM4-300, and some small kit stands. When you have the $$, add another light, projection attachment, and soft case. The system is modular; you don't need to buy it all at once. I'm not sure you can fully appreciate the value of dedo's just by reading a brochure. Eight months into one of my DLHM4-300, the cable between the transformer and light socket became frayed and quit working. It was a wear and tear issue, not warranty. The repair cost me $120.00. :angry: All the stories about the globes are true, tho. I can't find a way to break one.

hi- i have that exact dedo kit, with the softbox, two dedo's, one projector, large case, stands, barndoors, etc... i am not disappointed.

I look forward to this RED camera like everyone else. But, I'm also being honest with myself that dropping $25k on any kind of camera is completely out of reach for me. I'd like to know where all of these "indie filmmakers" are coming up with that kind of dough? Most likely if I ever use a RED it will be a rental and the old Zeiss T1.3's rent for $60/day around here. I don't see the point in using anything less. Why bother with a 4K camera if you're stuck with a lens that can't be follow focused and an iris that can't be ridden? I can understand using cheaper still lenses on something like the K3. That's what I do and it works for me. But, on a $25k camera? I don't think so!!! Have read many poor reviews on the Redrock FF (sloppy gear, etc.). If it's built anything like their adapter, I believe them all.