Ed David

yes that's a great idea - good thinking ! thank you. how would someone go about building a chicken coop - basically i guess a overhead hanging 9-light system with just edison sockets and wrap it in cage wire and then put some diffusion underneath. Seems also like a kino flo system could do the same trick - or I guess a space light as well - and just yes use photoflood bulbs

I'm a big fan of china balls - or whatever the term is now - laterns? What's everyone's best solution for daylight balanced ones - I know there are some giant Flourescent balanced tubes for them - 60w bulbs - wondering if there is a way to get a joker 400 into a gem ball to get more punch - or well does one know the different options? Trying to light a conference scene for a film during daylight way in the air and love well the china ball overhead for getting a nice spread. then again I could just use a joker 800 overhead in a pancake and get something similar. anyway let me know also thinking about a battery powered china ball for night and steadicam a la what they used in black swan - maybe stick it with literibbons?

On a smaller scale you can use a joker 800 or joker 1600 and play with CTO levels inside and or outside the window to create pretty nice sunlight in the room and mess with jo lekos or dedolights hmi to create sunspots and grip for contrast.

Sometimes I use as said earlier a single or a double and I also use a china silk - depending on sun's position and intensity - to make sure it matches with background - no one way to do it - whatever feels natural I guess. Love those frames -really beautiful

second frame in his eye looks like a direct or indirect source thru some type of diffusion and maybe a bounce from below - hard to tell .

This is great news for film and kodak!!

This question was asked before in 2008 but now 5 years later - what is the best place to get a 16mm print transferred to digital files in New York City. I know the lab @ postworks was closed to the public. I guess DuArt is the best right now. Thanks! Ed

Sorry if this is so general and asked before - but anyone know the best place in New York City to develop 16mm? Thanks guys! Ed

yes I believe that is them. The owner grew up in California and one of the owners is an ex-pat as well.

One last thought about Jim Jinnard - he's a bully. And we are cinematographers - and well I am at least and I know a lot of my DP friends - we are nerds. We are used to getting picked on. He intimidates us and it's not good for a company to be this way. I am so glad he can go fade away. We don't need a person like this in our world. I mean look at this post someone posted on CML: "Big surprise on stepping back. Someone must have told him it was probably best to just shut up and let other people handle the PR of this company. Jim calling Geoff a cu**? Sounds right.. Just a week ago I stepped onto the Reduser boards and commented about how you will never get a truly RAW no matter what the marketing tells you. RAW, meaning a neutral image that you can make look like ANYTHING. Raw cameras, whether they be F65, Alexa or Red, all have inherit characteristics that stamp a signature to every frame. Like a fine wine or a particular car engine, the Red camera will always have it's own signature LOOK. This came atop a myriad of comments that were bashing the Alexa because of its baked in BLOOMY look. A few hours later and my completely objective comment got me banned from Reduser after being a member for 7 years and an owner of several Red cameras and accessories. Then I was sent an email by a special someone literally telling me to go and **(obscenity removed)** myself. That hurt. I haven't been told to go **(obscenity removed)** myself since high school and she's done quite well for herself since then ; ) As far as I'm concerned, that's no way to handle a customer or anyone for that matter and that's exactly WHY I sold every single piece of Red kit I've amassed over the years and gave it all to the Germans. I'm much happier now. My clients are way happier. I don't have to deal with a fascist company that believes they are constantly at War with the world rather than just humbly making cameras. It's a god damn tool, not the holy grail. I may just be ONE customer that jumped to the BLUE side of things but one thing is certain and that is I'll never ever buy another Red product in my lifetime. Not even a sticker.. They continuously poop all over the people that are there to help them and if you're not writing gushing disgusting Reduser posts kissing Jim's ass, then apparently you're an enemy. Wake up call to all the amateurs sucking up to Jim.. He doesn't care about you. He cares about his legacy and starting poop with the World. I hope you're reading this Jim. I really do. I was your #1 supporter back when you were just a SCAM. Now I could care less. I'm glad you're stepping away. I think that's the only recourse to save the public image of RED going forward. I wish you well on your island in Fiji. I look forward to the day when people on movie sets actually respect what you set out to achieve rather than bash your arrogance and amateur attitude at every set break. Reduser is a tornado of circle jerking and noise. I like CML because it's a bit more objective. We need objectivity. Especially in this business."

A business sponsorship is the best and safest way. Just did a job over there. Also can I recommend an amazing production company - bag ladies. They were super useful with everything and have access to reds, alexas, etc

Well if you want to derail everything here's a project I just shot to show off Carribbean colors we wanted on the f35 - we really pushed the saturation as far as we could: http://kittyguerrilla.com/hospice_father/ in terms of saturation here's a feature I'm shooting: http://kittyguerrilla.com/web/AAM_Ed/content/index.html added film grain very poorly in post and this is my quick color correct. but yes I do like the f35 better than the alexa - i like how it handles motion better and its baseline colorimitry. I like an asa of around 400 - it's more about adding light than subtracking night - it brings it all back 5 years ago - where you built night exteriors . I really like the camera a lot. I have it hooked up to the PIX 240 and get 4444 out of it. also getting the convergent design odyssey 7q soon. also have it rigged very light - so it weighs about 11 lbs - which is nice to have. anyway I have two of them - I'm a big fan of them.

The dragon is definitely coming along nicely. I think seeing Elysium in the theatres on a 4k sony projector- Red Epic with MX sensor graded in ACES - made me a believer in where RED is going. Now that extra stop in Dragon will help the highlights a little more. That was the only part of Elysium visually I thought was week - there was one overexposured shot that lasted like 4 seconds - a transition shot. But I'm happy where the camera has gone. I just wish it could have gotten there a little more silently. :)

I think an important thing to note is this post I saw on Nofilmschool: "Tim Naylor on 08.20.13 @ 8:07PM I once commented on the deficiency of only one EVF port and the yoke of the touchscreen being somewhat inflexible and hard to position for certain uses. JJ ‘s response – banned for life and publicly said the only way I’d own an Epic is by proxy. Of course he deleted the thread but I still am banned from buying an Epic and Red Loser. And this is the guy who listens to complaints and suggestions? I eventually owned an Epi and have since sold it. It was fun and shot well. But the Arri 2k revolution just looks so much better. Reply" I think this alone shows why it is good for the Red company for Jim to step down. You shouldn't run a company in this internet age like this. You can't just ban people and threaten them like that. I think the dragon stuff is looking quite nice. Yes, it's not the 20 stops of dynamic range we were expecting - and it handles highlights nicely and the new clip looks nice -the colors look as good as stuff I'm getting out of my 10k used Sony F35.