Andrew Roddewig

Yeah, I don't work there anymore, and they don't speak english.

What do the two dials at the base of the boom control knob, on a Fischer Eleven, do?

Why do you want to do this?

Now, I have yet to use the DVX 100B, but in the A there is a menu option for Color temp ( i think that is what it is called in the menu, but i am not certain.) it allows an adjustment of either more blue or more orange to about twelve i beleive. I often use that setting on a shot by shot basis to make minor adjustment to the overall color of the Image. I find their is a big jump between 4 and 5, and -4 and -5.

Shootist you are lame, lighten up a bit man, no wonder you are so angry, you must have an awfull life.

Hey guys, I've been hearing about this List for the Local 52 in New York, that if you get your name on it, you can work on union jobs with out a card. Now I called the office, and of course was treated like a peon, but they took my name down and said i was on the list. I am wondering, is it something that you have to call everyday to be on the list, and if that is the case, when one is on a longer running gig does one have to call the office everyday get on the list, before going to work? Also on a side note, I am planning to take the test for 52 in July and was wondering how the testing worked, are there seminars before the test (Like 600), is there a seperate Grip test and a seperate Electric test?

the long and short of it seems to be this, up till now certain productions (Based on size, i believe) were required to have an operator, even if the DP was his own operator. Meaning, there would be a highly paid individual on set, just hanging like a Teamster. The new contract makes it no longer mandatory that production hire an operator, if the D.P. operates. That makes sense to me, but I also understand how members of the 600 would not like this. It seems very likely that productions will give priority to D.P.'s who operate, since the production won't have to hire a seperate operator. Of course this is all what i have heard through the grapevine, if anyone has more info please do tell.

that should work you will just be limiting your self on the amout of amperage you can run through that 60 amp bate. Even though the plug is rated for 60 amps i'm guessing the wire that comes out of the twist lock is less than that.

Here is the problem William. You are asking artistic questions, this forum is better suited for technical issues. When you ask a Group of D.P.s "how should i light this" it is the equivelant of asking other painters "how should I paint this". These are questions you as the Director of Photography have to answer, it depends on how you want the video to look. Good Luck.

Anywho I am going to assume that you are, as far as I can tell there is no reason this shouldn't work. As long as the twist lock outlet on your geni is 120v you should be okay with that connection.

Just to be sure, you are talking about a three pin 60amp bate, not a stage box plug right?

why doesn't foam core exist in large sheets in france? That seems so random because in the states it is a very common material for construction.

I don't think anyone can really answer that for you. It all depends on what the scene, and story are. The best way to light it is one that is most appropriate for the story. I will tell you this though, unless you have some carefully positioned practicals, i wouldn't suggest just using practicals.

A simple trick that i like to do my self is to diffuse my flash. It would have helped on the harsh shadows. I like to tape some opal over the flash or in a pinch a piece of bar napkin ( something i find myself doing to my friends little digital cameras when we are out drinking.)

I don't think Arri makes the Joker. Arri has it's own line of HMI's and I have found that the ARRisun 1200 is a very good light. The Electronic ballast is solid, although I beleive the hot restrike time is much longer than with the Mole models. It all depends on what your needs are, the joker kits are very handy for small productions and easy to transport, but they are somewhat notorius for being rather fragile and great care should be taken when using them.

This is an intersting Idea and although it would seem simple it would actually be quite a bit of work to put together, but here is what you could try that may give you the same desired results. You could build your Home depot ring light using an AC system and just purchase and INVERTER to plut into the the buss. Now I am not sure if a buss would have the standard cigarette style output that cars have. But if it did then the inverter would convert the DC current to an AC current, although you would be teathered, and you would have to be very carefully about bulb selection, you would want a bulb with the same color temp as the bulbs on the buss. Another thing to consider is wether you will be shooting at 24p or 30p because If you are not carefull with what type of ballast you use you may see alot of flicker at 24p and the DVX 100 as far as I know has no way to compensate for that.

Hey Guys, I am one of the lowly floor techs over at CSC and I will check into any questions you have on the D-20. I don't know alot of technical specifics right now, but I do know it is in New York and People are more than welcome to come in and take a look for themselves.

The Savannah College of Art and Design has Three 35mm cameras, Two Movie Cams, and one Arri IIc. I have just shot my third film on 35mm, SCAD also has two HD cameras (cine alta and Varricam).

I agree with you about the dreamy look, and I suppose that is why I am so attracted to it. I love lighting anything that creates it's own visual world where the rules of our world don't apply, but are very real in the world one creates.

Personally I am a fan of letting daylight be daylight and tungsten be tungsten, I like the color contrast and often find good motivations with in the script to leave that color contrast. Usually I am just trying to control the level of contrast between the orange and the blue. I was just curious if anyone esle felt this way. I understand why to correct and do often but I just find the asthetic of blue daylight very appealing.

I am currently working on a short film, and have had discussions with the director about the look of the piece and we really want one character to have an almost plastic skin tone. Best examples I have found from my research are, Steven Meisel's "The Good Life" a photo series for Vogue, Those crazy Duracel comercials, and Joe the gigilo from A.I. I really don't want to go as far as the duracel comercials, and the only idea i have had is to use vasoline on the faces, specifically on the highlights. I am wondering if anyone nows a better way, or has done this already and could share some of their techniques.