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.

films schools should just put out CV's with a list of directors that came out of the schools.

S4's are T2 and Mini are smaller and T2.8 —I'd reco doing in depth research on your own. lots of info and tests out there to compare. the "i" versions in mini and standard designate lens data pins that communicate with the camera

Cooke lenses are just less popular right now. Super 35 coverage is part of it, but they have full frame lenses now too. The Cooke i5's just never took off and nothing has really hit since the S4's. I donno exactly why. they do look good. just happens that way sometimes. Ultra primes are also out of style the Tokina vista primes are very affordable and very sharp. great value —just bigger. Masters are heavy and big The Leica's are like crazy expensive. Very sharp honestly....they all look pretty good and most spherical movies on modern lenses ...viewers would be hard pressed to notice any major differences.

If you need steadicam like moves, but fast. its a great option. there are a few guys who do this.

a shadow being too harsh is subjective, sometimes you want strong shadows —other times not. no rules here. the quality of light you have looks alright to me. the easy way to wrap the light more is just bring the whole unit to be slightly more frontal and the light will "wrap" around her face. if you want to further soften the shadows you might try adding in a second more frontal source that continues the book light and blends into that first source. you can keep the 2nd light dimmer then the first light so it doesn't feel too frontally lit. the bigger the light source the softer the shadows will be.

on a bigger project you have a DIT with live grade capabilities —so your feed is going from the camera into their setup and back to your monitors all live. This allows you to work with a couple luts and play with things as you go. Without Live Grade you can load in a Lut to the camera and you treat it just like using the arri viewing lut. Remember the picture you see on the camera normally is also a Lut the camera is shooting LOG, but the arri rec709 transform is just being applied internally to your monitors. no matter what its all pretty simple at its core. The camera shoots arri log and you are just applying versions of a rec 709 transform. in the color grade many colorists use the DP's lut or their own luts as a starting point for a grade instead of just grading straight off the log. you can work with colorist to make a lut and then load it into the camera ahead of shooting. I think there are also Lut's for sale or to download —but i'm not familiar with that. this stuff rarely changes what you actually do on set, I think in some circumstances especially with over/under exposure effects it can be helpful

I don't know anything of this, but if they are releasing a smaller and/or cheaper version of the 35 I would be shocked if the sensor was bigger. I think it will be another generation before there is a larger version of the alexa 35 chip since they can't be stitched.

also reminds me the deakins cove light

keep in mind. lighting is simple. if your background becomes too bright when you turn a light on, that's because the light is hitting the background too brightly. one method we use in that situation is to "flag" the light off the background with black fabric

Blue always confuses me. I've had skypanels at 10k blue and balanced the camera for daylight and it didnt even feel that blue. You can always just push the camera white balance warmer and put your tungsten sources at like 2K kelvin too. your lamp plan seems good. if you have windows with a translite or something keep that in mind too....that might be the hardest part to sell.