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timHealy

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Everything posted by timHealy

  1. timHealy
    There are two types of communications. Plain old walkie talkies. Most people wear surveillance mics and earpieces with them, and the type Richardson uses that David mentioned where it is a two way communication device like a head set with a mic out in front. You can talk to all your keys at once instead of channel surfing on a walkie. That type is a pain but great for live shots or where communication is needed during a take. You just can't forget to self edit your speech or you could say something embarrassing. Best Tim
  2. timHealy
    Atomic 3000 with a Detonator.
  3. timHealy
    It shows 1 or 2 in daylight or direct sun? Or a pure tungsten unit? Have you called and asked them about it? They have been repairing meters for years for just about everyone. If they made a mistake I'm sure they would address it. But a 1 or 2 is negligible. But buying a used color meter II is a bargain.
  4. timHealy
    In a word layers. Layers to keep warm and layers that can be peeled off and you can still work when you go from outside work to inside work and/or vice versa in the same day. best Tim
  5. timHealy
    Thats a college friend of mine who did that: Kevin Burke. He was a dual film and technical photography major at RIT. He worked very hard to do both at the same time. He was always bordering on exhaustion. If I recall he went to work for NASA right after college and never worked for anyone else. That video has been available on the internet for some time and there are much longer ones that also include 35mm high speed work they did. All spectacular work. I haven't seen Kevin in years and I tried to find contact info for him via the internet, but to no avail. If anyone sees him, please ask him to shoot me an email. Best Tim
  6. timHealy
    Getty Museum and since I'm a Star Trek jerk, Vasquez Rocks. But you can find Star Trek locations all over LA, including Getty museum where I think it was a location on Into Darkness ... I think.
  7. timHealy
    Hey Taylor, I don't think that was the case. It may have been cloudy and the lights so close to the actors beefed up exposure so much, it looked darker in the background. It took a long time to shoot those scenes. I agree with Stuart that Spielberg does not run out of time. His movies can be big and he is fast. I worked on the east coast portion of War of the Worlds and with all the toys they never ran behind schedule. If call was at 6am, Spielberg was on set ready to work at 6am trying to get his first shot off. Not rehearsing scenes and getting breakfast. Janusz was trying for something but I didn't get it. I worked on the Connecticut portion of Indy 4 and Janusz gave the second units boys grief when he thought they weren't using enough light to match the work first unit was using. I like Janusz a lot and would look forward to working for him again. Regardless of what I think about his final result. I like most of his work anyway. It was just the beginning of Indy 4 I didn't get. Best Tim
  8. timHealy
    Hey David, Just wondering what you thought about the beginning of Chrystal Skull in the desert scenes? I like Janusz personally and professionally, but I thought he lost his mind in the beginning, photographically speaking. It looked like 18k's were just feet away from the actors. I wouldn't say he was trying to emulate Slocombe. He was trying to go for something else, but I don't know what. Best Tim
  9. timHealy
    That's assuming you are using single phase and not three phase. Best Tim
  10. timHealy
    If you want to learn about electricity I would do what I did when I got started, read books about basic electricity. Then you can step up to more complicated books about electricity. Its not really that hard to understand. In the film business you don't need to study so much to be an electrical engineer but you need to understand the basics. Then read the Harry Box book. Though his book is "Hollywood" oriented and describes U.S. electrical systems and codes. But it is helpful nonetheless. Best Tim
  11. timHealy
    Yep.
  12. timHealy
    Hi, Peter Girolami at Sourcemaker has been building and renting these for the last year or so. It's a great light for certain things. Just saying Best Tim
  13. timHealy
    care to elaborate?
  14. timHealy
    Yeah it has an edison plug but I would try to use a real 20 amp circuit (if you are shooting in the US) There is a 220 volt version avail if you want to try and get power out of an electric dryer or stove outlet. the 120 volt version seems to have a 30 amp rating but I believe it is momentary. I haven't seen one trip a 20 amp circuit … yet. If in doubt you should try a camera test on your check out day. Are you shooting film or video? But think about an un-synced flash. For lighting you'll be getting a blast of light for a few frames. Your first and last frame of the flash may get a partial film frame or a partial video frame exposed depending where your scan line is. If in doubt you can open your shutter for longer exposure to try and reduce this. But I don't think you will eliminate that entirely. Basically an Atomic 3000 controlled by an atomic detonator is a poor mans lighting effect. Compare the price to rent one with the cost of a real lighting strikes and you can see if it's worth it. Best Tim
  15. timHealy
    If you have plenty of power tungsten lights would be just fine. How big will your shots be? Did a contact lens commercial last year and had 6 Arri T-12s pushing light through light board. A friend did a Disani water commercial a few years ago with 18-20k's. Very narrow spot pars either 1k or 1.2k can be helpful too. When using tungsten for high speed work it can be a good idea to use a dimmer board to easily cool lights between takes.
  16. timHealy
    Nice job. best Tim
  17. timHealy
    Some strobes will work fine. Like Atomic 3000's and a Detonator to control it. I'm not sure what you mean by studio strobes. Still photography strobes? Like a single flash? I would say no. You need a strobe that can blast and be erratic like a lightning strikes or Atomic 3000's. There may be others that can do the same. You won't have to be worried about any sort of syncing with the shutter with those lights for just a blast of lightning effect. Best Tim
  18. timHealy
    Got a chance to work for him once in the early 90's. The older technicians (at the time) and electricians really revered and respected him unlike I have not quite seen since. His work was awesome, but at times I think many try to replicate it and they never really get it. I always though his work affects jobs in NY in an interesting way where baylights are often used as a standard. The few times I have worked in LA, I don't see baylights nearly as much. But my time in LA is relatively short. Best Tim
  19. timHealy
    Ever hear of Days of Heaven? Just saying Tim
  20. timHealy
    maybe he was tired and was thinking about retiring soon. he was must have been about 62 when star wars was shot. obviously from his imdb page he didn't retire that soon. best Tim
  21. timHealy
    Depends on your shot and your shot size. Tim
  22. timHealy
    As part of your research, I would suggest trying to shoot a few frames of film and a few frames of video (well more than a few), both static and moving shots, maybe vary frame rates and see how things expose and move both projected on a large screen and on a monitor. Play with filters on the lens and diffusion on the lights, etc, etc. And go through the post process as well. This would not be a small undertaking if you did it right. Best Tim
  23. timHealy
    Can you tell how old the fixture is? If it's really old and been around the block, it may have too much mileage on it. Also, I really hated the Lightmaker ballasts. They were the first square wave ballasts and I can remember one job I did in the early 90's where the ballasts failed like crazy. A few years later I did a movie with them and they were better, but I wanted to get all magnetic ballasts as backups, but the gaffer insisted the LIghtmakers were fine. We did lose a few 12k ballasts on that job due to shooting in the desert and dirt and sand being a problem. I never experienced anything like that with Arri Square wave products. I'm just saying. Best Tim
  24. timHealy
    In NY it is common to rig sets with 4x4 bay lights but they can be any size really. 1x1 up to 8x8. All have duvatyne skirts. But the bigger they get they are more unwieldily. They are usually rigged with a few circuits and a few medium mogul base porcelain cleats. Many gaffers in NY have a bunch of them or more can easily be made. Sometimes I wonder if it is a leftover industry standard in NY from the Gordon Willis' work in the Godfather. A few times I worked in LA on a stage, there did not seem to be any bay lights rigged. But I guess it depends on the job. Best Tim
  25. timHealy
    There is no real cooling down time to move an HMI. I even move them when they are on if there is enough header to get it to it's next position. An HMI does not have a filament like a tungsten lamp that is fragile especially when it is hot. In fact some of the bigger heads have so much trouble with hot re-strikes its preferable to leave them on. Experienced electricians know when a DP says turn something off you just pan it away. Unless they say "no really that one can be turned off". Experienced DP's will know to ask to pan an hot HMI off too once they have been burned by that. The only time we open a lens is during a hot re-strike situation and hopefully it will come back on given a few minutes, and before someone panics and says get another head. As far as par lenses go it seems to help to take scrims out of a lamp before you turn it off to help facilitate cooling of the lens. If you leave scrims in the par lens itself (not the UV glass) seems to easily crack and break. Best Tim
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