Daniel Miler

I need to create this very heavy smoke effect for a music video (in a 150 square meter studio), and from my experience with lighter smoke/ haze scenes I don't think the machines I usually use will be enough. Need any advice on which type machines or smoke to use, or other tricks on how to get this thick smoke effect looking good on cam. reference: https://youtu.be/UW0vOum0mBM?t=58

Thanks all Ill do my best making one, hopefully will update soon with resolts (:

Well if anyone else has any clue as to how to get plans for making such a frontbox it would be much appreciated! I want to make a costumised one before my next project and it would be great to have some plans to rely on..

Hi Chris could you please re upload the plans?

Hi David thanks for your quick reply However, there is still way too much algebra in there for me to figure out, as in all the equations I see online they go into image distance and object distance and other comlex terms. Im trying to find a straightforward formula where I only need to put in focal lenght and focusing distance...

Hello all Beware, a hardcore technical question ahead.... I know that by having the focal length and minimum focus distance of a given lens, plus the sensor size, one can calculate the magnification ratio of that lens, such as with this very useful online calculator. However, I don't want to have to rely on an online calculator, and have been frantically searching for the equation that will enable me to calculate this on my own, to no avail. I have been spending the last day drowning in technical terminology and trying to make sense of it, just to understand how very simply focal length + minimum focus + sensor size = magnification ratio... Shouldn't be that complicated... Any Ideas fellow geekster cinematographers? Thanks

Hello geeks, Ive been trying to no avail to find out whats the Master Zoom's entrance pupil location\ distance from sensor plane. Anybody has any Idea where to find this info? ARRI's website gave no answer...

thanks all very interesting facts about Lumens Jeclarck2006. Guess Ill just have to stop being a lazy bastard and test some actual flashlights with a light meter. I was hoping to just drop a Lumen minimum demand on the art departement and leave it at that... As for ISO, you may call me old-fashioned, you may call me chicken poop, but I never dared go beyond 1,600 with the Alexa....

Hi all All though this topic appeared several times before, I havent been able to find specific enough info on the subject. I am shooting a night scene in a forest, and plan to light it only with the light coming from two practical flashlilghts carried by the main characters (apart from very low-key HMI light for ambiance). I will be shooting on the alexa, and hope to acheive a T stop of about 2-2.8. How much Lumens do I need these flashlilghts to be? is 500 Lumens enough? do I need much more than that? I also plan to color the flashlights with Storaro Yellow jel which will take up some light...

Well, I thought Will meant Arri3 GG on Ebay would cost cheaper than a new one, not a whole camera... 35mm caemras are getting cheaper all the time on Ebay, but they are defenitly nowhere near the price of a new ground glass... Yet... And Dom, if your company has spare ground glasses to sell that would be great, please contact me if they do, A combo of 2.35 and 1.85 would be perfect!

thanks Will, I always Try that also. though super 35 for the Arri3 is more hard to come by...

Hello all, I am looking for an Arri3 super35 Ground Glass with 1.85 markings. I have recently been in contact with Visual Products who don't have them, and Shurcotools who manufacture them in the US, but they could not guarantee me shipment on time (Im leaving for a shoot in Africa at the end of the month and I cannot buy it unless I can get it before this time). In any case - anybody who manufactures/ sells these ground glasses, preferably in Europe? Thanks!

I am checking that out right now, they seem mighty capable of evading the responsibility though. Any recommendations for carriers that can assure no X-raying ?

Thanks Brian The lab technician also told me the same, that there is usually no damage, but unfortunately he just now emailed me that the material suffers from horizontal type X-ray damage.

Hello all, I have recently sent some film tests (Fuji Eterna 250D, 35mm) to a lab abroad and the people in DHL just told me that the film might have gone through X-ray inspection despite my requests. Because I have heard very ambiguous opinions regarding the impact of X-ray on undeveloped film that is under 500ASA, I just wanted to get your opinion about this. Do you think there is absolutely no use developing and testing this X-ray'd stock, or is it possible the film was not affected? Its simply that I have no first hand experience with this matter. Thanks.

Thanks Will and Matt, That's reassuring to hear. I will probably go with them. I'll update after recieving my tests back!

Hello all, I saw on another forum a recommendation for these guys: http://www.videofilmsolutions.com They seem to have very nice prices for post production work, and I have a low budget 35mm project coming up, so - I was wondering if anyone has any experience with this place? Any recommendations/ warnings about it? Thanks!

Is there no way to prevent this moisture from building up inside the fridge? It is brand new, so no way it's a leak problem... I just put my films in there... with two ziplock bags on top of each other, double protection, and it still gives me the creeps to put the stock in that ungodly place... :wacko:

Thanks Zachary and Will, I'll do that and put my film stocks back in the fridge, I much prefer to see Kodak boxes than actual food in there anyways (:

I know there are some threads on storing specifications for film stock, but I have a very specific question which I'd like to get some opinions about. I have a few rolls of 16 and 35mm raw stock, which I know its best to keep refrigerated (were talking about up to a year of storage before shooting and developing). The problem is that my refrigerator is not completely dry, it has a (very little bit) of moisture building on the shelves and walls. My question is: is it better to keep my rolls inside the fridge protected by two layers of zip lock bags, or in my room at room teperature? (I live in Israel, so its not very cold, even in winter, and gets quite humid at times) Thanks

Well I hope you are right! I just love the look of reversal (:

Thanks for the quick reply. I thought Kodak discontinued all reversal stocks a few months ago and that I can only obtain them through retailers that still have left over stocks. So basically Kodak might also have left overs on their shelfs?

Hi all Does anyone have a tip on where i can get 35mm/ 16mm reversal film? I've been browsing through the net for a while and had some difficulty with this. I found some 16mm on B&H, but no 35mm. Help?

Thanks Dom, Once again you save the day (: Do you have any opinion about the motor locking lever and the cannon sync out? do you think they are original?

I am currently working an a couple of arri s/b that i got, and I have a BL waiting in line. I got the cameras in great functional shape, and now I want to do some aesthetic face lift on them. I have two main questions: 1. what is the black patterned material covering the sb body and mags, and what is the best method of cleaning it without causing it harm? also, is it possible to do anything about engravings and scratches on this material? 2. one of the cameras (an earlier type sb; serial no. 8549) has a motor locking lever and a cannon sync out which are different from those I know from other sb's, so my question is, do you think these parts are original parts that originally came with this camera, or later add-ons/ replacements? if so I would try to replace them with original ons. pics of my aesthetically challenged magazine and of the camera parts in question: http://sbfacelift.tumblr.com/ thanks everyone, Daniel