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Taylor Russ

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  1. I love my light meter but honestly most of the time I end up only using it to double check my exposure. I use false color constantly and cross reference monitors and the camera's tools, but it never hurts to have a meter when dialing in a light or lighting before camera is up. These days I notice the gaffers do most of the measuring, but I step in every once in a while to reference.
  2. A friend of mine went to the ASC master class and they did a whole segment on exterior car lighting. She said the trick was to shoot right after the sun went down / is going down so the sky is still bright enough to reflect in the car but you avoid the hotspot of the sun.
  3. I'm 100% with Adrian here. Low cost LEDs give out one way or another. Quality electronics are necessary for a quality LED light source for film. You could run into flicker and you will definitely run into poor color reproduction. For my money, Litemat is worth every cent.
  4. While I hear the Kinos have some of the best color reproduction of any LED on the market (please correct me if I'm wrong), I find Litemats to be indispensably versatile, especially the S2s. And that said, their color reproduction is also excellent (their tungsten LEDs are some of the absolute best on the market). The S2s aren't the brightest (especially compared to the Plus / Spectrum lines), but they make up for that in the quality of light that comes out of them. If you're working fast, it's hard to beat a light that you don't necessarily have to add modifiers to. Add an eggcrate to it and you have a seriously fast, killer light for both stand-mounting and rigging. I've never had an issue with my S2 2L's build quality, though I was admittedly very nervous about it when I first got it - you don't really have to baby them at all. Also to note: the Litemats have a few effects built in like flashbulb, fire, etc. though I believe not as many as the Kinos.
  5. Personally I love shooting with a 16mm - gives a wide and / or intimate feel (depending on use) without feeling fisheye. Wider than that is great fun but also very hard to justify in most contexts outside of necessity (super small locations) or a strong style choice. That said, big fan of barrel distortion and very wide lenses - just gotta know when it enhances and when it becomes overly apparent and breaks the immersion.
  6. The thing is, the factors laid out by Alex are considerations for all environments you're shooting in. There are no catch-all mounting solutions (though there are consistent tools you'll want to be able to precisely position tube lights). Sometimes a C-clamp, a gobo, and a cardellini will work. Sometimes a boom is the best option. Sometimes a light socket to baby pin adapter, gobo, cardellini works best. Sometimes you'll want a single or double tube holder with a baby pin. It's all kind of the same effect. One thing I'd say is definitely don't use tape ever. The tubes get hot, melt the tape, and the last thing you want is a lamp falling on the heads of anyone.
  7. In no particular order: Gordon Willis Bill Pope Robert Richardson Roger Deakins Peter Suschitzky And if I could have a sixth, BenoƮt Debie. Cinematographers that can make big looks that don't distract (debatable amongst the members of this list of course) are a definite personal favorite of mine. Definitely a quite hard thing to master.
  8. Contrary to seemingly everyone, I kind of like the original head cables. The Phoenix connectors are of course a pain in the ass (I've been recommend THESE as a means to end the constant slipping / stripping of the wire), but the cable being lightweight and flat has a lot of uses for hiding in places / running cable under doors, etc.
  9. Hey Twan, In the instance of using PL glass on the Pocket, you'd skip the Speedbooster. The Superspeeds are for 16mm if I'm not mistaken, so the focal lengths will more than cover your range without need for a booster. Wooden Camera has a PL setup that plays nice with their cage. Good luck! Should be a fun combo.
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