Albion Hockney

I have a practical bar light that has two florescent tubes that are 35" long and about the same diameter as T12 bulbs. any idea the model on these?

My guess is space lights over top or maybe a huge frame skirted as you can see the rear wall is kept a couple stops down so it shows up as grey. then you got the in cabinet lights there which help give some depth. she looks like she is lit by a big soft source coming frame right. something like a 12x I'd guess and then maybe something extra above her as well

you need to reach out to a kodak rep. tell them about your project and budget, they will help... as far as there new policy I donno tyler where did you hear that I would be curious what that is about because when you call kodak direct they still have fixed pricing.

pretty standard way to deal with day interior actually as said, anywhere in the world. If you need daylight coming in a window for a long period of time this is kinda the only way to do it. of course it depends how wide your shot is and what you are seeing in the background but if you have a wide shot where you are seeing other windows in the background and you want sunlight coming into the shot and you need to balance exposure for the BG...well time to order up the condor. I would guess anywhere in the world most productions that are considered "High end" are on this scale and often times mid size stuff gets condors out there too.

as long as your not worried about being intrusive size usually isn't a problem even in a small space. I often bring in a 6x 1/2 Lite Grid or full lite grid cloth and just hang it on c stands loosly as to not worry about the frame size if I cant get a full 6 feet I will just span it over 5ft or something.... any smaller and use a 4x4 frame. 6x is kinda the ideal size at 5-6ft away from the subject to get a nice wrap. often times with using frames like this and needing to balance daylight I will put a 1.2k HMI through the frame or 1.8k HMI. If you don't need to match daylight no need for big sources. a 4x4 kino backed off so it evenly fills the frame can be enough.

that's a 400ft can. its really cheap.

ok hmm got some misinformation. thanks for clearing it up. since the focus is holding one place during the take I dont think the breathing will be an issue.

Find a kodak rep through friends or industry people and tell them about your project. often times people do much better then that 30%

Was curious on experience with various lenses on super 16mm. I was planing on using a Zeiss 11-110 Zoom on a shoot with a long slow zoom shot. but apparently I have heard the lens breathes during zooms and won't hold focus? Are there any zooms that won't be a problem. (When I say breathes I don't mean the subtle zoom effect created by pulling focus but instead the loss of focus while zooming...the opposite effect I suppose)

thanks much. yea 52/7219 not 18 my bad

if you have the 4444 upgrade there is a function to view a more normal picture while recording SLOG like the canon c300 has. but if your using pitcture profiles to get slog I dont think you have access to that.

Hi, I haven't shot much film and don't have extensive knowledge like some about what can be done in a lab and such and was curious about where it is best or the difference in results between lifting film in the grade (after doing a scan of it to LOG) or pushing the film stock in the lab. I read an interview with a DP I respect who shot a video on 5218 and needed to rate it at 1000/2000 ISO and said that they pushed in the Grade instead of the lab because they didn't want the added contrast/grain that pushing in the lab would give them. I was curious if this is true...that pushing in the grade will result in less grain/contrast?

AH interesting, nice trick, looks great.

Hey David I think you are missing the point, because an ND .9 filter would literally be almost useless because your camera already has a .9 and 1.8 ND filter built in.... so unless you want to achieve ND 2.7 (9 stops of light reduction) which again is a lot of stops and only necessary if you want achieve something like f1.4 outside on a sunny day, not needed. ND filters work in 1 stop increments - .3 is one stop - Built into the f3 are .9 and 1.8 filters - if you have an additional .3 and .6 nd filter you have every stop covered from .3 to 2.4 Generally when you shoot you want to achieve a certain stop and having a full set of ND in .3 increments allows you get any stop you want regardless of the lighting. this is how it breaks down if you buy .3 and .6 filters going from 1 stop of light reduction up to 8 stops of light reduction. .3, .6, in camera .9 ND, in camera .9 + .3 (1.2), in camera .9 + .6 (1.5), In camera 1.8, In camera 1.8 + .3 (2.1), in camera 1.8 + .6 (2.4). and again with .3 and .6 you don't need to worry so much about the quality of the filter ....although some would disagree... but for your purposes formatt's should be fine.

if you had just bought an ND.3 and ND.6 you would have stronger ND options still. the two internal filters are .9 and 1.8 ...1.8 + a .6 is a 2.4 which I have never even had to use before (2.1 is the highest I have ever gone) to shoot basically wide open in direct sun. now instead you have ND .9 + 1.2 = 2.1 and ND.1.8 + 1.2 = ND 3 which I have never even heard of its so many stops direct sun will probably be underexposed at a t1.0 for $60.00 you can get formatt 4x4 nd filters and in .3 and .6 variations the color shift is not a big concern. you want to rely on the internal filters as they will be much better with color and IR pollution.

..again you will only need .3 and .6 - no reason at all to buy anything else.

the F3 has a .9 and 1.8 nd filter built in. to fill out a full set of ND you only need .3 and .6 ND filters and you will have everything from 3-2.5ND .3 and .6 filters since they are not very strong are less likely to have problems with color shift so you can probably get away with some cheaper filters.

Can I ask, the shot at :36 what were you doing with filtration/optically for this effect?

one of the better interviews, so much conversation with DP's is so broad and doesn't really get anywhere. Love that you asked about the details of shots because it says a lot about his process and ideas.

can you post examples?

yea, fair enough! I for sure get caught up in the magic book light tendency ....they are very in vogue!

if that is the fiona apple video in some of your references I think that is a bare tungsten bulb right above camera. eternal sunshine I know gondry didn't want move lights on set so that light is also something like a bare bulb or a clamp light sorta rig with a bare tungsten bulb. I think its easy to think you need to add something like 251 but honestly probably fine just with the point source especially if it is a frosted tungsten bulb.

Yea Tom, its probably because he is Indian .... Lots of Sarcasm implied there.

It depends on the size of your locations, but if you have the space I would get away from the joker with a soft box option. That is going to be a pretty sourcy light with a shadow quality and it will not look like your stills which have a very soft even light for fill. I would get 1 HMI either a 1.2k or 1.8K (as big as you can afford) and make a book light (bounced and then through diffusion). The cheapest way to do this would be with a 4x4 bounce card and then a 4x4 frame of diffusion in front of it but that is still probably not as soft as you want. So I would rent a 6x6 grid cloth or similar (probably 1/2 grid) and if you need to save money don't even rent a frame just drape the cloth on 2 C stands. This light can be in the house, you don't need to come through windows Another route would be to use Kinos, I would use atleast 2 4x4 Kinos through grid cloth, but this will have less punch then the HMI probably. I would for sure have a light to use for fill on set, but honestly you may not need it if your Key is soft enough and somewhat frontal. I also 2nd the use of 1000H if you need to just have nice clean blown out windows all day.

As far as I know there is no LED dimming solution other then the LiteGear ...you should really do it! huge market on the horizon I'm your first buyer!