Albion Hockney

It feels kinda cheesy to me though, new technology replicating old lens problems. Or maybe its a new modern asthetic.

It might be a long while before I can afford to bring those to set, but really interesting.

Seems to me though if you want flares/ghosting you probably also don't mind some resolution loss and other problems. Be interesting to see how these compare to just using Lomos or something.

Watch reels (although most are commerically oriented and not the best) and have conversations with colorists.

I might get flack for putting it this way, but I think finding the right colorist is like finding the right person to cut your hair.... the process is very collaberative where they are using a bit of creativity and alot of technical ability to figure out what you want to see and making it a reality. The best technically skilled colorist isn't neceessarily going to give the results you want.... you need someone who can speak your language a bit. I've only worked with 3 different people and its been different with each.

also like finding a barber/hair person w/e most people find a colorist based on referals I'd say. Ask shooters you like in your circle who they have used and how it went. even if they are just acquaintances.

Missed that you already bought the BMPCC. I say sell it and get an f35!

best luck, cameras don't matter that much anyways.

I'd say get the Red. If your a young shooter and you want to learn the Red will be great.

It is tottaly unpractical.

You need a fast computer to transcode (so transcoding footage will be very very slow).

Its heavy and you can't just pick it up and go shoot.

Its uses a lot of media, and the batteries won't run all day with out several bricks (so you will want to be careful about how much you shoot).

I think its the perfect camera to learn on its like shooting film first in schools.

It will give you by far the best image to price point you will find and you can make high level images on it with out technical limitation (IE: you can't blame the camera)

That said if this is any sort of business move I would advise against. You might also want to look into the Sony F35. Even bigger and less practical, but really great images at a similar or less price point.

Almost everyone I have ever known who bought expensive cameras at a young age did well. Its a little tough with the RED MX because its now outdatted so you went get rental dollars or get hired for serious proffesional work. But, every friend will ask you to shoot there stuff because of your fancy camera...and if your good it will look best with you anyways.

I wouldn't choose a facility just on its status in the industry. most high end post houses have comprable systems. I would choose based on the colorist and how you work with them.

this assumes your talking all digital here. Film Telecine equipment varies a bit more and for the transfer I'd choose based on what system you want.

to cut the film look off most people use Black Pro Mist in 1/8 and 1/4 density (a lot of people shoot everything w/ 1/8th pro mist ...its very subtle but helps alot I think)

I have also heard people using Tiffen Pearlscent and I know David Mullen ASC (on this forum) likes the Schnieder Black Frost filter.

most people use very light densities these days though. not full 1 or 2 ....usually 1/4 or less

no most new US circuits are 20AMP and can do 2000W. The old standard was 15AMP so you always have to look at the box before plugging in a 2k. but 2K is considered the max light you run on household power in US.

hence the ARRI 1.8K

Haha, yea I'm an amatuer I feel I should know how to do this. I'm think I'm going to try to go over to a local lighting house a rent from a bunch and have them do one so I can learn.

Hey Guys, A production company I work with bought some lights and a couple of them came with out eddison plugs on them. the insulated cable just leads out and then the three wires are visible. So they are simply missing plugs. I figure this is probably not too difficult a Job to do, but was wondering if anyone could post a link to an explanation of how to do it?

I'm not Gaffer, but hoping it can't be too hard

I have a MV project and was thinking about using some LED light strips to wash backgrounds and sometimes be in frame. Looking for a strong monochromatic coloring.

These LED light strips seems like a great solution, I was just curious if anyone has used them and to try to get a sense of how much light they put out.

Im shooting 800asa as a 2.8 mostly so I dont need a ton of light. One thing we were thinking about is hiding them under the awning of a motel and washing the whole front in a color. Will one strip running the length of the motel be enough light do you think? does anyone know where you can see photometrics....I'm sure they all vary a bit but Im basically looking at the IKEA/home improvment store variety of these lights.

^ I agree on the 35mm ish focal length. its like 50mm on full frame and its just the perfect lens. That said I use a lot of stuff and like playing with the focal lengths still.

I just watched a great documentary yesterday by Sean Dunne (its on vimeo) "florida man" its shot all on a 16mm lens I beleive.

sometimes the limiting of using a single focal length can do alot and aid the story ....or using a couple. I once shot a short where all the work is either 35mm handheld or static longlens from 70-400mm. The long lens reperesented this outside perspective and the 35mm handheld work was very much engrossed in the action with the charectors. Picking focal length is like picking a brush stroke or a color pallete. there are an endless amount of meanings that can be attached to focal lengths selections so in the end you do what feels right.

another example is the paradise series by urlich seidel I beleive shot mostly on 19mm lens and one slightly longer lens like 25mm?

Id suggest just getting open face lights and chimera's ...it might be more expensive and bulkier, but its a much better product.

I'm sure this post has been made before, but I couldn't find a solid answer.

I'm shooting a project, probably on Red ...maybe Alexa. We want to achieve the low frame rate streaking effect of early doyle work on won kar wai films.

I know they acheieve the effect but shooting a low frame rate with high shutter angle and then printing duplicate frames.

My question is simple because a lot of people seem to make this seems like its a complex operation on digital.

Is the process not to simply shoot at 6fps and then in post double the frames to fill a 24p timeline?

your plan sounds right on for the interview/host stuff you'll probably want some diff for your 800w joker I'd put it through a 4x4 of 250/251. In your example they are getting a bit more complex you can see a 2nd subtle edge on the right side of his face and some blue source giving him a nice reflective pop as well on his right side.

For the walking around shots I'd use your two daylight sources for background/foreground elements prob just through 4x4 frames to give them a little wrap around big pillars or whatever is there. and yea china balls skirted really heavily with pretty big bulbs or some other source like that will work just fine.

in the example you have it looks like it could be anything, but its not a soft source like a china ball ....probably a par can or something.

I think it would work. I used this weird LED light the aadyntech. It has a built in "flash" effect that you can trigger just hitting a button on the light.

Ugh I hate Kinos for this stuff Satsuki, I always find it hard to get a nice quality of light ....I have done that exact thing though Kino through 216 and I put some diff on the kino too. In the past I have done a 2k with diff on the head and then through Full grid (Like that a lot more! )

but I hear yea tight spaces are tough....I assume he rumsfeld come down to a studio though that one looks like a big key to me.

Alot of people shoot features on the c300. the c100 puts out a comparable picture.

my experience is that the 4k blackmagic camera is a really bad highlight clip and is like maybe 10 stops of latitude where as the c100 is closer to 12. C100 also can handle 850 ISO up to 1600/3200 with the black magic 800 is pushing it.

you'll never create a real "35mm" look with either of these cameras its hard to do that with an Alexa let alone a c100 ...but I'd say the c100 will get you closer.

Having seen a few of the new errol movies. always looks like the classic super soft side key. in your example it looks like either a book light or through 2 layers of difussion. probably the biggest being an 8x and then an opposite side little edge/hair light

Thanks for the replies everyone.

As for the drake seen after watching it several times. I agree with Guy, I think there is some sources for sure that edge carries way too far. but I can sorta see how that could be done in my head now.

Satsuki, can you explain what you mean by hiding LED's around set....are you saying having the lights in frame? or are you just talking about tossing LED's in interior locations to give the apperance of rooms with lights on.

the other question was what is a "smoke pot" I do want some smoke....kinda like the look of steam heating pipes leaking through the sewer coming up in the background basically. Was trying to figure out the best way to do that.

Phil, I think you have to understand low budget is for sure relative. Guy explained and I know he is right the biggest expense of night exterior in the past is a huge generator and all the crew that comes along with that along with cost of big lights. His solution is "low budget" in a sense and actually that information is really helpful. Although that is still a high end production world I'm curious about those sources. In the past one thing I have done is just put some 2k open face lights on cheap condor style lift. and fortuently I am not lighting up near the size of an area as they are on a show like "Chicago Fire"

I have a project coming up with some steadicam shots of someone walking around an urban setting at night. maybe walking down an area of about 50-100ft and then standing on a corner. Widest shots are like medium wide or a little wider.

Its pretty modest budget, I could probably get a condor and maybe a 5k out but that would be it. I have been seeing a lot of urban work as of late that looks lit mostly with practical light though and I'm just curious what some of the newer practices are other then just edging someone from down the block with a big light. One thing Is that there will be open bussiness they will be walking by so I was going to try to utilize that to motivate/give a lot of the light for the walking scene.

I was just watching this drake video/short film....excuse the content haha unless your a drake fan.

starting at 6:44 there is a scene infront of a liquor store which turns into a long steadicam shot of drake walking out and getting into a car. I'm just curous how people think this was done. It looks like it could almost just be practical light, but the parking lot retains a pretty strong exposure of the cool blue light. I wonder if there were some other sources going on to do that.

https://vimeo.com/119416353

I guess in general I'm curious how much practical light can be used in night exterior. If anyone can think of any examples of wide urban night exteriors shot with practicals I would love to see it.

those lite pads are great, I would suggest using them for fill. basically gel them up to match the street lights and have them on pretty dim just to give you a base exposure.

can also use em to get an edge sometimes but it can look a little forced.

500t wide open at t1.3 and you can make some great pictures.

find area where there is a lot of street light ...neons signs and stuff in store fronts are also great!

Thanks Dennis! this is the kinda information I was looking for ....and David yes tottaly forgot about focal lengths obviously has a big effect.

I really want to get a better understanding of how this works as to obtain better control on set and maybe do some tricks!

So basically the amount of elements a lens has is going to add potentional flare scenarios + how good that coating is ....but I wonder if there are some generalities that can be made about the angles that most lenses flare at and the best way to create the flashing "veiling" effect.

Dennis can you explain what you mean about ghosts? are you talking about the direct colored circular flares you get? or are you talking about something else.

I will look up that paper!

ah yea, I think when cook first put out the mini s4's they called them panchros and it confused the hell out of everyone myself included till right now.

oh yea my mistake you want the faster ones. that is a whole different ball game! Mini S4 as far as I know are just rebranded Panchros though same optics.