Albion Hockney

hmm wish I could give better insight. I'm not sure the actual difference in beam quality and brightness. if your on set and wish you had more light out of the 18k Fresnel its unlikely that an arrimax would make THAT much of a difference.

you can prob check photo metrics with arri calculator then.

are you comparing against an Arrimax? if so and you need the power the Arrimax will be much brighter. if your talking about an Arri Fresnel I would imagine its similar? make sure the bulb and ballast are in good condition

that lens has a huge front, I don't think a 4x5.6 filter will even cover the whole front of it. you could try taping the filter to the lens

yea the problem with cameras that small is the lens won't sit far enough out.... I would run the package on an external brick battery which would help with power needs for the external monitor and even out the weight. just look around online—lots of references for this here's an exmaple

if you over expose an overcast day and manage the fill side to create contrast. you can create a sunny feeling for sure. just manage your backgrounds.... don't show wide open vistas of overcast light instead treat the sky like a big soft source and find backgrounds with texture. keep in mind sunny days don't always have hard light in every frame. 600d as a little backlight in tighter shots will work okay for interiors. I might try to swing for a 1200d or m18 for one of your key lights. maybe even an M40 which can be handled by a crew of 2-3 if you don't use many lights.

you need an external monitor and to set the camera back on the shoulder. there are lots of systems with a base plate to do this. in short the camera body itself should be on the shoulder. the other solution is easy rig

I think they are supposed to be quiet enough to shoot dialog no problem. might want to check there aren't other issues effecting the camera?

I would rate my camera at 7500k white balance or so and just put 1/4 or 1/2 O on the Joker (as to not diminish the intensity). I'd place that light as far as I can from the window to get the least fall of possible inside the room. I'd hang an 8x8 bounce above the window table top'd and bounce a couple lights into it for skylight make them really blue like 10000k... and just mess with the levels of both till I thought it was realistic. I'd keep a light inside with me to further fill in faces as if from a window off camera and then I'd have a pizza box or 4x4 bounce around to pick up the shafts of "sunlight" and bounce them back into my talent. it should be noted that the 8x8 over the window might play pretty subtly if its a high contrast scene with direct sunlight, but depending on much of your scene is actually lit by direct sun it might be useful. for example if you have one tiny shaft of the last light from the sun then a lot of dim blue ambiance would be noticeable from the window and that soft light could do a lot of work. if you only have 2 lights that is a challenge but if you are shooting tight you'll be fine. Just get the sunlight through the window and fill it in ...it will be dramatic looking though. to get a sharp venetian effect you there neither to use a joleko with gobo or place the blinds maybe 10 or more so feet from the light....depends on truly sharp you need it to be.

all the process of making films, the lights, the cameras —the part us technicians love is in service of artists telling stories. the writing/the idea ....the thing on screen. this is the most important part of the whole deal.

You can do this setup with any camera that will fit into a beam splitter (which should be pretty much any camera) the trickier part other then all the hardships of shooting with a beam splitter is the post work to composite the images and get the color to work right

you can get a rough idea though and studying frames this way is a great way to learn.

mercury vapor lights for sure. already miss that dirty green.

If you want the image to look exactly like this but not see out the windows I'd just lift exposure on the window itself in the color grade. your essentially saying you like the lighting in the shot, you just want the background out the window too be brighter. if you had a budget you might just take a 12x ultrabounce and throw some light at it out there, but then you will have no texture at all out the window.

I know back in the day the arri 16s was the go to for ski/snowboard films. I knew someone who had theirs converted to s16.