Will Barber

You need 1/250 shutter speed to freeze normal human motion. A golf swing will require even faster. So regardless of your FPS, you'll need a ton of light to get the 1/4000 or faster shutter speed you'll likely need. I think outdoor daylight is your best bet, like you were thinking.

I'll always be a fan of the look of 50D. If I were to make a choice for just a regular outdoor scene, that would be it. I'm pretty sure they used it for a lot of interiors in There Will Be Blood as well, using motivated light from outside the buildings.

Wait, you mean there's no Labatt's in Cali? My future has become bittersweet.

Yeah, these are screengrabs from the ungraded ProRes. I'll be adding some contrast and saturation back in, but this is pretty on target to the look we were trying to get in this location. We specifically scouted to find the whitest bathroom possible.

I thought I'd put this here since I didn't seem to get a response in the other section. I'm currently the DoP on a short film called "Circadium" being shot in Rochester. We're shooting on the Blackmagic Pocket Cinema Camera. I figured since I learn something new every day on this forum, maybe you would all like to see how this film progresses. We shot the first scene of the film on our first day of shooting, which was this morning and afternoon. I'll try to get more framegrabs of future scenes from my director, I just have 2 for now, but any feedback would be greatly appreciated. Thanks! Shot on BMPCC, ISO400, ProRes Film, Nikon Speedbooster and Nikon AF-S 17-35/Vintage Macro

Hello, I'm currently the DoP on a short film called "Circadium" being shot in Rochester. We're shooting on the Blackmagic Pocket Cinema Camera. I figured since I learn something new every day on this forum, maybe you would all like to see how this film progresses. We shot the first scene of the film on our first day of shooting, which was this morning and afternoon. I'll try to get more framegrabs of future scenes from my director, I just have 2 for now, but any feedback would be greatly appreciated. Thanks! Shot on BMPCC, ISO400, ProRes Film, Nikon Speedbooster and Nikon AF-S 17-35/Vintage Macro

I think it just is a cheap stand with what looks like a pretty large mount at the top. I would probably avoid putting heavy lights on a stand like that.

There's actually a Nigerian filmmaker who graduated the MFA program here last year, he's pretty incredible. His thesis was hands down the best film made here last year, at least in my opinion. It's on the festival circuit now. It's called "Hawa", and his name is Arzouma Kompaore. My cousin has gone to Uganda a few times for mission work, I'd love to go out there someday and film what he does. Africa can be a beautiful place, with interesting people and a culture that not everyone gets to see. Actually, most of the world is kind of like that. One of my Indian friends told me about the black market liquor trade in India, I'd love to make a doc about the people who smuggle that stuff as well. Someone stop me before I become a documentarian...

if you only have 2 marks to hit, use your fingers as hard stops on the follow focus wheel. Put one finger on the wheel where each end of the pull is, and you just turn the wheel till your finger hits. What's the situation where you can't have a tiny LED mounted by the wheel?

I used to be able to rent a VHS from a local store for 99 cents every 24 hours. I don't see why a company distributing digital downloads would have to charge any more. Redbox does it. Why shouldn't a digital company with conceivably less overhead be able to distribute low cost rentals? And I know someone has to pay to make the film, but back in the day it wasn't just about cashing in on the success of the film. I'm aware of the world we live in, so really all I can speak about is my ideal, which is that someday all art and information will be free for people to consume, and the people that create that content will be able to do it as they please without the restriction of economics. Imagine if just once, a studio took the $100million they were going to blow on a big budget feature, and they found 100 promising films from younger filmmakers and gave them each $1 million. Don't you think that would be immensely liberating and fuel the creation of some great new content? Sometimes I just don't get it. You can waste millions on a box office bomb, but you can't take a risk on someone who's asking for less than 1/10th of the money and has new ideas...

Also, if you bring in the video from the Source monitor, make sure you drag your footage to the timeline by grabbing the whole clip, because there's options under the monitor to drag only audio or only video, that may be the problem. Will it play back in the source monitor with audio or is it missing there as well?

I just hope I never get paid in royalties. If someone wants to see a film I made and they don't want to pay for it, so be it. I know people who have watched a movie online then decided it was so good that it was worth going to pay to see in a theater. I hope someday I can live in a world where people can access whatever content they want for free, but there's always the fact that we're inside an industry that puts most of the value of the product in how much money it makes. Also, studios wouldn't be willing to pay to make a film if they didn't think it would cash out, which is a larger problem in the industry in general. We're still in the age of the blockbuster, which is why the piracy thing is even an issue. But I tend to agree with Phil. If there's no intent to distribute a pirated copy for money, the profits that are lost really can't be accounted for. Would you say watching TV online after the fact is stealing, when it's available on TV for free anyway? True, you're not exposing people to advertising, but that's already been bypassed by DVR systems. I can't really see a solution to the piracy debate until streaming services get more advanced, because I know personally that I usually can't find the exact film I want on Netflix since I cancelled the DVD service. In the end, I just want people to see my work, and if they weren't going to pay for it anyway, they might as well be able to watch it, talk about it, etc.

Fold it in half around the center post inside the legs. I usually do it so it's resting on two of the supports.

I find myself feeling the same way with praise. Sometimes the most useful critic is your own hindsight, and sometimes that's all you can get any good feedback from.

Gregg, that may be the most perfect thing I've ever read, and I fully agree.

Then somebody better get out a checkbook, it's hard to make a film with no electricity.

I will push for film and attempt to shoot on it whenever possible until the day Kodak closes it's facilities for good. I wish I could have gone to school a couple decades ago when film was really the only acceptable option.

A normal 15A circuit could take two 800w lamps. You'd pretty much need a 30A or higher circuit to run 3 at once, and I rarely see those. Of course, that's in the US on a 120V circuit, if you're not from here it may be different.

A crop of 1.7 relative to full frame DSLR is essentially Super 35mm sized. No issues there!

Does anyone know of some good shorts or features shot on 16mm Tri-X that I might be able to watch online? I'm thinking about shooting my next film on it, and all I can seem to find is the classic freshman Bolex projects, which I've seen far too much of already. Ideally I'm looking for something shot by someone who actually knows lighting and camera.

If they're brand name kinos, I'd sure hope not. Cheaper off brands may flicker, you might wanna test those if you're nervous about it. You shouldn't have any problems with the tungstens.

Luckily I'm shooting my entire film MOS, it's for an experimental workshop and I'm just going to score the entire thing. Our school gets a deal on film because we're in Rochester, I can actually get 100' rolls for about $12 and 400' for hopefully less than $50. We usually only get daylight spools, so I was having difficulty finding out if we could get other film besides that with the discount.

I was just handed a Kodak catalogue, which I think solves my problems with finding 400' cans...but I still would like to know where to find an Ikonoskop since now I'm just curious as to why they're so hard to find.

Really? So the little lever wheel in the mag isn't going to have difficulty with the spool? I'm assuming you'd just thread it onto a core and can it back out into the box when it's done then? Thanks man, you're a lifesaver, this may make my life a whole lot easier, not having to hunt down the last 400' roll in the world or drop a ton extra on Vision 3 just to convert it to B&W. I knew film was dying, but I didn't think it'd happen so soon.

I'm looking into options for a film I'm shooting soon, and I can get pretty steeply discounted Tri-X daylight spools. I'm finding it nearly impossible to find 400' rolls to use with the SR3, so I'm starting to look at cameras that can take the daylight spools. Does anyone know where I could possibly find the A-Cam to rent? The only one I can seem to find is for sale on ebay. If I had $6k, I'd snatch it up, but sadly that's not an option. Locations near rochester ny would be preferable if there's even any out there.