JB Earl

lots of variables there. What are the shots? mediums? multiple actors?

how many grips will be on set? fly a 1/2 soft frost, and beadboard bounce (or solid) might be the most versatile for different weather.

you could sandwich a bunch of litemats (or similar) behind a 4x4 silk and run it on battery. It will key or edge light at a reasonable distance if it's cloudy. and the shot's not too wide.

I've run them on a department store inverter plugged into a cigarette lighter and a jump start battery.

I called quasar about this and they didn't have any real guidance on other than an inverter and battery should work fine.

Two 1K lights are more versatile than a single 2K (unless you want a single source to simulate sunlight)

what specifically do you need the instrument for?

what do you mean by "high contrast look"? how wide are the shots?

Mark, the Rocknroller carts fold nicely. https://www.amazon.com/RocknRoller-Multi-Cart-R18RT-Ground-Equipment/dp/B00NKQYFF2 I have the biggest one but most users have the R12 which is only slightly different. The gripngaff bag makes it a nice package https://www.bhphotovideo.com/c/product/1298898-REG/gripngaff_equipment_bag_for_the.html

I recommend the deck and shelf for the carts, but they're easy to home engineer.

Adrian, that adapter sound really useful.

The trailer isn't big enough for the usual carts or dollies, so I have been using a Rocknroller R18RT cart, with a gripngaff bag on it. I load it up by the trailer gate, so no ramps

I'm in a similar pickle. I have a basic setup on my 5x8 G&E trailer, but make a lot of trips back and forth with a fold up cart.

Trying to decide between 2 options: C stand cart + milk crate cart, -or- laundry cart to be able to throw any random mix of gear in.

Always need to move: sand bags, C stands, lights, light stands.

oops sorry, Yes. I meant the 3rd frame.

Hopefully someone else here can offer some advice on the lighting subject also......

my minimally educated guesses:

in the 4th frame it looks like there is a big source wrapping that window light from camera right, (possibly outside the window) - look at the double shadows on the wall hangings

the 1st and 2nd obviously have a dim soft source high and camera left. And probably some lights playing in the room behind the girl.

the 4th one may just be another window in that room on the left, no supplemental lighting unless there is an HMI outside one of the windows

common technique is to add light through or near the windows to build the inside exposure, but motivate from the (practical) window sources.

"so many different ways you could go - broadly comedic, low-key dramatic, offbeat ironic, iconic and mannered, distanced and observational, point-of-view dramatic."

"low key dramatic" probably is closest.

David, "Shane" looks like a good model for us and this scene

We're talking now about keeping to a CU of the shootee's face when the gun is actually fired, then back to a CU of the smoking gun.(or something like that) That should keep well within the Hays Code, and eliminate some technical/SFX issues at the same time...

I do like the look of Shane. I love Leone's look, but it would be over the top for this film. "McCabe and Mrs. Miller" has a nice feel, maybe a bit too dark.

Silverado has been one of my favorites.

the shootee will not die after being shot, until the next scene in a different location, and I don't think we're looking for extremely dramatic or violent, which won't fit the rest of the film. The shooter accuses the shootee of cheating at cards and just fires. I'm looking for inspiration as far as (camera)shot design for a sudden shooting.

thanks, great suggestions.

thanks a lot for all the detail. It's DAY INT, and I don't think we are going to do blood splatter or anything too dramatic ; )

any scenes I should watch in terms of composition, angles etc?

I have a scene to shoot for a zero budget western, where a one guy gets shot by another during a card game in a saloon. I'm looking for suggestions to jazz it up , or scenes from movies I should watch for inspiration.

thanks JD. i could use 2 of the 9" (for some old 2Ks) I think that's all but I'll double check on other sizes. Feel free to PM me

the photoflex frames are useful and inexpensive.

If you need something that can grip in different orientations you can make something like a Scrim Jim

http://eztube.com/product/2-way-snap-lock-system-connector/

and get a flip flop ear or cardellini.

Advantage Grip and Matthews have removeable 4x4 rags, or make a 39x39" frame to fit Photoflex rags.

I'm in need of barndoors to fit 9" accessory ears. Has anyone seen some for sale? new or used

6x6 or 8x8 frame with heavy diffusion to camera left. Evenly illuminated LARGE white background may provide those edge lights, but otherwise 1 softbox each side of the models upstage, and softbox overhead.

try Gilbert at Galaxy Lighting Repair. I think he had some for a good price on ebay

How old is it? Some of the Gitzos have a replaceable base that can be replaced with a bowl. (called the systematic bowl adapter)

Otherwise get a Manfrotto 438 leveling base and fit a flat base head to it (the half ball is removeable from many Manfrotto heads ). What weight camera rig?

Does anyone know what size caps will fit the Angenieux 17.5-70. Also any good source if they're oddballs?

I've done a fair amount of food photography over the years. The general rule is that whatever you're advertising has to be the actual product. If it's ancillary, or a prop, it can be fake. The milk in a cereal bowl is often white glue, because it's only the cereal being advertised. Burgers require tedious placement of all the ingredients, in the amounts that you will actually be served. Stromboli is much more difficult! Vegetable oil or glycerin is used to add sheen, or sometimes heating with a hair dryer or heat gun helps.

Justin is right about the style changing. Traditionally the perfect placement of everything was the look, but you'll see more of the slightly imperfect setups , such as crumbs or imperfect buns, or burger stacked akilter.

I know a guy who swears by very heavy visqueen. It's available 12 foot and wider, but wind will be a problem. It is just enough to smooth the shadow edges but maintain the sunlit look. Very little exposure change.

I'll second "Cinema Paradiso"

1951 "the Day the Earth Stood Still"