Vedran Rupich

yeah I figured I'll perhaps need a special solution. The setup is aproximately 50 ISO, its an hvx with a mini35. worth mentioning is that i dont have the fastest primes, and besides, the more i can approach a f/5.6 the happier I'll be, even though that is wishful thinking. Eric that setup is cool. Do you think it would be bright enough for my purpose. Besides the talent in this hot is dark skinned, making exposure even tougher. The Litepanels Ringlight Cinema looks rugged and bright? any input on that? David your solution sounds as if it can produce enough light, I just feel somewhat uncomfortable with the DIY with so much heat that they will be generating. cheers

Well, the wider I can go the more safe I'll feel. But If i can use it for my midshots atleast, 50mm FOV cropping the waist. Then on my wide shots with the 24mm, I'll figure leaving the fixture on but adding some other sources in. Will the Litepanels Ringlight Cinema do the trick?

allright, i figured it would be too small. Any recommendations of what to use? something brighter but still keeping the "ringlight feel"?

Great,Thanks! I'll go with HMI's, think that'll work. Also, i wonder if i use a ringlight? how much light can i squeeze out of it? The camera setup is rated perhaps 50 ISO? How far back can i be to get a decent exposure? I was planing on using a 50mm lens, framing my subject in a medium shot. how much can one get out of a kino kamio ringlight? Is it possible to expose? regards

I'm about to shoot a video where the subject will stand in front of a wall, which will have a 1/3 inch diameter hole every 4 inches, forming this grid. the background will be a 1/3 inch thick plywood plate, painted black. To the point, I want the the light streaks coming through the holes to be "laser-like" and occasiannly hitting the lens, i planned to use smoke in order to get the volumetrics, but i wonder if not hte light will disperse all over te place, as i would like it to be fairly concentrated? Would a HMI do the trick, or should I go for a xenon? The overall scene will be pretty low-key. Any suggestions?

Thanks everyone. I get the hang of it now I think. Mr. David Mullen, that is exactly the look I am after, anamorphic flares sure look good. regards,

I was thinking the other day, if one uses a 3x4 dino as a backlight visible, and hitting the camera directly, what kind of lens flare can one expect. Of course this is a lens issue as well, but I just wanna get the overall feel, I mean, the multiple lightsources cannot generate multiple lens flares can they? I am very curious to know, and if someone can point me to a clip where it is seen it would be great. regards,

Allright, Thanks Jonathan and David. I figured it had to be a snooted fresnel, wasn't certain though. I have plans to use this lightning style for an upcoming shoot. The thing is that the background will be white, or more exactly, Specular/Glossy white. Is this doable? How much distance would I need from the object and the wall? Is there gonna be a whole lot of flagging? Can I achieve this spotlight look with all the ambient light the backwall will generate? Any inputs? Kindest regards, Vedran

Sorry about the name, It's been a while... Had no idea it had become a Real-Name forum, which is great by the way. And as well, sorry about the missing link, didn't mean to upset anyone. http://www.youtube.com/watch?v=9RYuuAHtJh8 Anyways, this is the lighting style I was talking about. Kindest Regards

If you look a bit into the clip you will see a guy in front of a wall. He seems to have a spotlight on him and everything else just looks completely "vignetted". Is there a name for this style, how is it done? Is it just a head on spotlight? Sorry for the bad reference, I know I have seen this in other vids but I couldn't pinpoint what to call it. Best regards, Vedran

Perhaps true when it comes to delivering standard off the shelf somewhat already seen footage. But if you're an amateur and wish to learn by experimenting, there are few limitations if you own the camera. Your scenario, it's about following schedules for rented equipement you don't have time to fully comprehend and besides on top of all this you are to be creative. I have nothing against renting equipment, but if you don't have the experiences, there is an enormous trial and error advantage with owning some gear.

I've came across info that the z1 has a HD output... So if you use this output to record in a diffrent format than miniDv, do you have less compression and artifacting? please correct me if I'm wrong.

letting a posthouse do the final grading seems like a bad option especially as a big part of the project is colorgrading. I would like to try It out. I have used colorfiness and lustre but on this partcular project i will settle with colorfiness. I guess I need fast drives in order to playback in real time, but perhaps realtime playback wont be necessary just for the color grading. I'm looking forward a month of hard work, abuse of hardware, overall frustration, dead end work, theoretical studies and practical exercises...but damn'it it's gonna work.

it would be output to SD eventually or perhaps HD. So the resolution is not important when it comes to color grading? well in that case I´ll scan it directly to SD...what is the least compressed format that i should use when i scanning or editing? Is it possible to request an output to a harddrive so i can use it on my desktop without any capturing? In that case what lossless format would be good, as this is a project thats gonna require alot of colorcorrection?

Sure the progressive look of the panasonic is good, but this is not a reason enough not to switch to hd. I know alot of guys using the z1 professionally for music video making. I would recommend the hvr-z1, with AE and magic bullet you can deinterlace the footage and achieve a more filmic motion and look. So if you compare just 25p to HD, I would go with the HD as this is always doable in post (artifacting and a quality loss may occur) If you can afford a HVR-z1....go with it!

Is this especially applied to the Hvr-z1? I mean, this harsh treatment cannot be concentrated to one model so i guess your statement can apply to every camera on the market. well thats actually no big secret, some people treat cameras like crap... But buying used equipment is what amateur film-making is about. So the big reason why I would buy used is that I cannot afford a new. Besides, If you do your shopping from a creditable seller on ebay, you'll be well of i hope. I wonder what experiences you have had with second hand shopping I don't mean to sound so offensive, but you come on as a salesman...and apperantly I would'nt even post if I could afford a brand new camera

I have som rolls of 16mm 7245 that I´m gonna develope and eventually scan. I`m very tempted to scan in 2k as it allows for brutal color correction before it falls apart. the telecine process is very new to me... I have done som dv, hdv, beta and super8. But now its time for 16mm... I suppose i get a work print from the post house that i can edit and send back to them to allow for them to scan whatever's necessary...Is this assumption correct? And now to the big questionmark... If I scan my material in 2k, how will i color correct and grade it? is it doable in Premiere and AE, I know AE handles up to 4k. I have a dual AMD processor system that is pretty up to date... Can I handle color correction and editing of 2k on my system and what are the requirements? I have heard of Cineform Prospect which is supposed to handle 2k, any advices och experiences? Thanks in advance!

I´m looking to buy a used Hvr-z1 cam. I´ve been looking around on ebay but i couldn't really seperate the fraud ads from the real ones. What can I expect to pay in order to get a good used z1? I live in sweden and here a hvr-z1e retails for around 7800$

I´m looking to buy a used Hvr-z1 cam. I´ve been looking around on ebay but i couldn't really seperate the fraud ads from the real ones. What can I expect to pay in order to get a good used z1? I live in sweden and here a hvr-z1e retails for around 7800$

I sure like the look of 7245 but praticalities have killed my vision.... but lets say I`ll use a faster stock for the indoor tungsten scenes to combine with my outdoor 7245 scenes... what indoor stock would i use that is a bit faster, meaning it can be done with tungstens without frying the artists? But I would still like to be able to match the look with the 7245..

I dont think the budget allows for HMI's. lets say i used gels on my tungstens, how large effect are we talking about in order to get a good exposure? there will be medium sized rooms. and lets say i wont combine with any dayligth, if its gonna be completly tungsten...is it possible?

I have a load of 7245 that I intend to use in a music video. I know that this is a slow daylight stock, but I'm gonna shot som interior with it.. so I'll need a filter that will steal even more light, how much light will i need? what kind of setup is desired? I'm gonna use smoke to make the lights volumetrics, but not in huge amounts.

I'm pretty confident about the condition... but what about the price? is it cheap? or am I being ripped off?

Hi! I have got an offer for five 60m rools for around 250$, they are 1,5 years old. but kept in freezer and should be in great shape. its 300m altogehter...so its alot if film is this worth the money?? (its in METERS)

thanks for the reply! you are very informative... but lets say i would like to work as one... what kind of education is required from one? is there someplace where you can study color correction? the most resonable is that the people att the color grading companies employ people with artistic education...