Anthony J DeRose

Thank you.

In the 50/50 scenario when you say  - I'd meter the sunny areas and open up a stop to make the sunny areas feel "hot" -- which is probably only one stop different than the first scenario

Is that one stop difference referring to the stop on the lens? Or is it a stop difference in the highlight readings?

Hello,

Does the Bolex H16 EBM Electric (converted to super 16) still have a light loss from the prism requiring you to open the lens 1/3 of a stop for compensation. I know the shutter is 170 as compared to older models and wondering if the viewing system changed in this model.

Playing around with it over the weekend, filter package I have is ND2, 4, 8 if I recall open up 1 stop for ND2, 2 stops for ND4, 3 stops for ND8.

Thanks

Hello all,

Just wondering some thoughts for a searchlight effect at night on 7219 16mm film. The searchlight is not my key but it will be following a character on the run. I'm thinking of letting it go as much as 4 stops over from my key. Am I being a little too reckless? I want it to feel hot just not burned out white.

Thank you.

New reel and updated website. Please check out, any feedback welcomed.

http://www.anthonyderose.com/work/#/reel/

Cheers

Hello,

Will I find any flicker problems with LED bulbs that are dimmable? Shooting on Red Weapon 23.98

Wanting to get this for less heat and wattage.

100 and 75watt - https://www.amazon.com/gp/product/B01HDZWOUS/ref=od_aui_detailpages00?ie=UTF8&th=1

Thanks

Hello all,

New Website - www.anthonyderose.com

Cheers

What would be the best format to shoot on with the Alexa mini to extract a 1:1 image, without shooting ArriRaw or open gate?

I know this question has been asked many times, but want to see if I can get myself some advice.

I am doing a music video where our performer will be operating a mock space ship and singing to the camera. One of the main props are these sci-fi eyeglasses he will be wearing. We already have anti reflective coating on order, getting flat surface lenses are not an option unfortunately.

My trouble is the quality of light. We want a frontal nice soft source with no shadows. Initially the plan was to have a chimera top ambiance source and then key with frontal kinos in full diffusion, one right above camera the other a little below the lens. Naturally now we will be seeing those lights in the glasses.

I probably will just raise the first kino high enough to eliminate it. I was also thinking of placing a kino on both sides of the artist so as one eliminates the shadow created by the light and vice versa. Any other tips?

Thank you. A point source like a 2k no barndoors going through a 250 frame should give that fall off to create gradient circle?

Cheers

I want to create the circular gradient you see sometimes in cyc videos. Wondering what is the best way to create that look? I figured I could use a Leko light or possibly a Par can but how can I get that gradual circular fall off? I've attached a reference pic.

Also a visual link (horrible song turn volume off.)

Thanks

I think your idea of using negative fill is a great starting point. That method is always handy when you want to create some contrast in a CU outside (or very bright interior). As far as the backlight with a 650, if its mostly CU's of talking heads you may be able to get the light close enough that it will create a nice backlight. You could always half the CTB and let it be a little warmer like sunlight, letting you get more strength out of the unit. If within budget you could bump up to a 1k fresnal or 1k molepar, I've used those in the past with full CTB and have still gotten a nice punch.

Cheers

The dual esata / dual thunderbolt from Lacie is a wonderful thing.

I would say its film noir. To create that look you want a low-key style, i.e a lot of shadow in the frame. Film noir implements a lot of hard point sources to create such a look. Orson Well's film Touch of Evil is a great example of noir lighting.

New York has a lot of oppurtunities now with the Tax Incentive till 2019. You can always join Local 600 as a assistant work your way up and shoot every chance you get.

I have found the same issues as well. I think you can draw the line when it comes to transcoding/coloring. DIT's on commercials always transcode, on TV and movies there is just too much time in that process for productions to be willing to pay that overtime every day.

I wan't to be a assistant and treat the downloading as you say the same I would if I was loading film. I have had productions ask me to transcode or do lightiorn work to which I respond politetly that I am not a DIT. Hoenstly the problem I find is as a loader (as we know the position requires a lot of work and being able to balance set with darkroom) is that I invested in the top of the line macbook pro, Esata/Thunderbolt Hub, Thunderbolt card readers, etc. yet production tries to pay me the standard labtop fee that they would a second AD whose machine is 3 years old. Yet if I was a DIT they would pay more for it.

Digital cinema is just going to keep getting more confusing with Local 600 rules and classficiations.