timHealy

I agree with Keith's thoughts here. best Tim

Norris was/is a company that made an intervalometer with a lens capping device. I haven't seen one in some time and am not sure if they made one for the SR, but it may be worth some searching. Best Tim

You would have to look into the tech specs but if i recall correctly the SR' could not do single frame on their own. You would have to get a chip installed from cinematography electronics and use their controller. IS that what you meant by your question? Tim

if you have a drop ceiling you can do a number of things. First if you have the ceiling in the shot you can simply buy and add more practical fixtures where you need them. Typically they are 2 feet by 2 feet or 2 feet by 4 feet in the US. Buy them from home depot or your local hardware store and put a plug on it and run the power wherever you don't see the cables. Just be sure you have the right bulbs for the fixture you are adding meaning t-8 or t-12 If your ceiling is not in the shot then you can add and hang, or do whatever you want. best Tim

I have one somewhere. I have to find it. I don't recall reading about it in the past but that is not to say it is not in there. I either missed it or just forgot about it. Best Tim

can someone post a link to a Woodylight. I haven't used or seen them yet. Unless I know them by a different name. Google search shows nothing. best Tim

For what is is worth, 9 light FAY lights are less than 6000 watts. Maxi brutes which are their bigger cousin are 9000 watts with 1k par 64 globes. best Tim

I would love to see that if it is available. Best Tim

I would do it if the story is compelling. www.timothyhealy.com best Tim

I would think Arizona or New Mexico would be better than NJ, but if you had to do it in NJ, I would shoot after the leaves fall off the trees to give it a more barren look. But it would be a serious cheat. NJ with leaves looks more lush and not nearly as mountainous as Afghanistan. Just my 2 cents. Tim

There are two main variables for getting a good quality film transfer: one the equipment and two the colorist/grader. Generally speaking you get what you pay for. A really good colorist on the best machine is going to cost more than a bad colorist and on older machine. best Tim

check out the Harry Box book for set basics. best Tim

maybe you can look for the cinefex magazine about the hunt for red october. it is one of my favorite sub movies and i believe they did dry for wet best tim

earthquakes, floods, fires, riots, incessant traffic, smog, and bars close way too early. not for me. best Tim

I'll consider it if the script is compelling and you pay for transportation, food and housing. http://www.timothyhealy.com

Some use Vectorworks. best Tim

That sounds really tricky. You would need some way of marking the frame you start your ramp and the frame you finish your ramp and everything in between to be able to match that in post to the transfer machine. You would have to do camera and post research to see if is technically possible, but I have a feeling the answer is no. But try and make calls, you may be surprised at what you find out. So maybe Kent's method could be easiest. You would get the motion blur in the slower frames from your exposed negative, but you may have to play and wing it in your post method. Best Tim

I few DP's I know like to change and adjust lights between takes and not just between shots. Best Tim

That is not quite correct Adrian. IA Local 52 in NY has a few contracts and "budget Brackets" to work with filmmakers. They have their independent contract, majors contract, and they have several "Tier" contracts for films under 6 million or so. I am not sure how it is now, but a number of years ago one could have a very large budgeted movie non union film, 30 million or so, in LA where as that would never happen in NYC. perhaps other locals have several contracts as well. Best Tim

You won't learn much about filmmaking doing weddings. You would be better off working with other filmmakers or making your own films if you can't get to school. But if you know nothing about filmmaking school could help, but going to film school does not guarantee success. best Tim

Put it this way. In a wide shot you can barely see the actors faces. Then you go for a close up, you put a magnifying glass up to the actors face, if you want them to look good, you have to light them differently. When you start doing it you'll understand, so go out and start shooting. Best Tim

You don't need HMI's to make moonlight. You can use HMI's or tungsten with gel. You can use any type of CTB color correction or a bluish color effect gel. But some of it will depend on where you choose your white light to be. If you shoot a chip chart under the fluorescent 2700, your 3200 degree lights will look slightly cool. Or if you shoot a chip chart and choose the 3200 degree lights as white, then the florescent will be slightly warm. Technically it doesn't really matter. The creative choices are yours to make. best Tim

Can we have a serial number check please? German or French electronics? Best Tim

There is nothing here that I can see that would suggest they used HMI's. One could convincingly shoot what you have shown with either HMI's or Tungsten. Or a mix of both. The spot light could be an HMI spotlight with full CTO or it could even be a Mac 2000. And the rest could be tungsten. Tungsten with a bit of CTB could give it a cooler look. And then they could have aimed to keep things white and tweaked it in the transfer to give it a certain look that they didn't think of while shooting. There are plenty of colorist who might say don't do anything in camera and let us do the correction in post. Do you know who shot it or who the gaffer was? One could probably just ask them. Best Tim

Flame retardant doesn't mean fire proof. If something is hot enough for long enough it will catch on fire. Be safe out there. Best Tim