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Johnny Derango

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Everything posted by Johnny Derango

  1. Glen, The interesting part of the story is the auto white function was not on. all three cameras were set to shoot at pre-set 3200K. HAs anyone ever had this problem while in a pre-set? Please let me know.
  2. Unfortunatly, I had a major problem with color shifting in a room of florescents. I was shooting a TV pilot in an interrogation room lit maily by the overhead florescents. When we later went back and watched the footage, which was shot on 3 DVX 100-A's we noticed that the footage cycled from warm to cool and back again.... And when I say this I mean it went from nice warm flesh tones to a cooler white to blue to green and back. I had never heard of this before and there was no flicker. We were shooting at 1/48th shutter in 24pA mode. So needless to say Florescents scare me. I realize that the color tmeperature has nothing to do with the flicker, so to clarify my question, when do you need to worry about florescents and flicker when shooting at 24 frames a second on film?
  3. Thanks, that is a great idea Mitch, totally worth testing.
  4. I really hope you get some intelligent replies here. To my knowledge, it is only older ballasts that you have to worry about. I'm about to do a shoot in a grocery store and I had the same question. I know florescents have a broken spectrum so flicker is a concern, I just don't know when you should be worried. The few times I have shot under florescents, I just filtered in camera with a CC30 magenta and everything looked great, but I'm wondering if I've just been lucky so far.
  5. Thanks for the advice, I'm slowly starting to put together a plan. Should be a fun scene to light
  6. I'm getting ready to shoot a music video which mostly takes place inside a movie theater. I'm just look for advice from anyone who may have previously shot inside a theater. The main thing I am wondering about is about using a projector as backlight. Is it practical to get a 2nd projector to use as the backlight since the real projectors beam will be too high? And are duvy skirted space lights a good option for fill?? I'd appreciate any advice.
  7. Jon, I can't speak highly enough of Columbia College in Chicago. It has one of the best cinematography programs in the United States if not the world. It has turned out several of today's top cinematographers including: Janusz Kaminski, Mauro Fiore, Jeffery Jur and Michael Goi amongst others. Columbia College Chicago has all of the things necessary to get you started on the right path. Ultimately though, no school will provide you more than the effort you are willing to put forth. Anyway, check out their website http://www.colum.edu/
  8. Don't be afraid to take control, you are the boss. No DP, should be disrespecting a director on set, if there is a problem he should pull you aside and talk to you like an adult. As for the AD if she agreed to work for a certain rate, and now she wants more, fire her on the spot, they are a dime a dozen. Anyway check out my website (www.johnnyderango.com) and when you are ready to do your next project and you need a director friendly DP give me a call.
  9. Hey all, I am shooting what for all intensive purposes is a big name music video for a low budget. Here is the situation and any opinions would be much appreciated. I am shooting Super 16 with most likely Cooke primes. This is a hip-hop video that needs to look shiny and polished with bright poppy colors like an R&B video. There are day exteriors and night interiors. I will most likely be shooting everything at a 90-degree shutter with an abundance of high speed. If I were going to shoot 35mm my stock choices would be simple. I would use the 5205 (Kodak Vision 2 250D) and the 5218 (Kodak Vision 2 500T). I feel in 35mm those stocks would be low on grain and be able to cover the speed and shutter changes (90-degrees). Unfortunately because I am shooting in S-16 I feel that I should use the 7217 (Kodak Vision 2 200T) for the interior nights to try and keep my grain down, but this creates lighting issues when I change the shutter (90-degrees) and go to high speed. Has any one shot the 7218 (Kodak Vision 2 500T)? How does it hold up grain wise knowing it ultimately has to go into a flashy bright poppy video knowing it has to look like 35?? Any help would be appreciated. Also how does the Fuji Eterna 500 in 16mm hold up to the Kodak 7218? This is for a music video airing on MTV and BET so the destination is the small screen. Johnny
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