Ray Rushing

That's excellent Michael. I just watched a couple but I'll go back through. Great resource.

Thanks Daniel. I'll check it out.

Thank Michael. This is helpful. Locking the shutter rate makes sense.

I am coming to cinematography from photography and I am looking to learn as much as I can. Besides actually shooting with it or getting on a set that is shooting film are there any good resources out there to learn some of the basics? I've tried googling but the term "film" typically just leads to tutorials about filmmaking or breakdowns of films. I'm looking for something specific to shooting on film.

Looks great! Are you shooting 180 degree shutter the whole time? Just curious...I shoot 180 a lot and feel like I get too much motion blur. This video seems to have just the right amount. Cheers!

Thanks Robert. I'll check that out. I'm feeling like MoCo isn't necessary but this is still good to keep in my back pocket.

We do have a prep day and will shoot a test there. Unfortunately I'm in a small market and the dolly is coming with the gaffer and isn't available before hand. We have a motorized option available should the dolly not work. We will be using skypanels for the overhead now and they will be on the dimmer board. Just haven't sorted out the light we will use for the sun. The rental shop only has small tungsten lights which is why I'm leaning to the HMI. Tungsten was my original thought. I don't think they have an LED that's powerful enough either but still working on that. Ideally all the lights would be LED and just run from the board.

I don't need each shot to match. Since this will be one take that gets used we will just be looking for the best take. I'm going to propose we do shoot some cut aways too just so they have option in the edit. Thanks JD. That's how I was feeling about it but just wanted confirmation..

I'm doing a shoot in a couple of weeks where there will be a lighting change during a timelapse shot. Camera will dolly around the subject and the shot will be sped up in post to create the timelapse. So for the lighting the director wants to start out with a sunny look, then go to overcast (not too dark though), then to overcast with rain (again not too dark, more like a spring shower), the finish back at sunny. Now I have a pretty good idea of how to do it with an unlimited budget but that's not the situation. I have about $3500 total for G&E and we are shooting on a stage with green screen so some of that will be going to the spacelights on the stage. Additional info: We will be shooting somewhere between 5.6 and 8. We have access to a DMX board to control the transition. First thought was HMI for the sun and Skypanels overhead for the overcast bit. Then have a book light on the ground to fill in the shadows a bit and a leko to edge the rain. Of course the HMI won't be dimmable but I was thinking we could block it with a 4x4 of black and then uncover it again at the end. The rental house here is pretty limited and their tungsten lights are all pretty small. Love to hear other ideas for this. I'm sure there's something simpler that I haven't thought of.

I have a shoot coming up where the director wants to do a timelapse of a brick wall being built. It's a pretty tight shot but he wants a lot of movement (probably close to 90 degree turn). We will be shooting on a stage with a green screen and there will be a lighting change going from sunny to overcast to rain to sunny again. Now we aren't going to be building an entire wall just a small section. The director's plan is to have the builder work for about 10 or 15 minutes while the camera dollies on a curve around him and the lighting change happens. The camera will be moving very slowly and then he is going to speed the shot up considerably to get the timelapse look. I will be experimenting with actually shooting timelapse as well and my guess is that will work better. This will be a one take shot so motion control isn't absolutely necessary. We are looking at a Kessler option but I think the move it's capable of will be too short. So, has anyone done a dolly move like this for timelapse? I've done some hyperlapse stuff and it almost feels like that. However, I'm worried the speed will be too inconsistent and once sped up it will look dumb. Any help is appreciated.

Nevermind. Shoot changed. No longer need to be on water.

Not sure if this is best forum to post in or not. I'm looking for a tank similar to the Blue Sky parking lot at Paramount but in Florida. http://www.paramountstudios.com/stages-backlots/blue-sky-tank.html

Thanks Jaron!

Looking for references for an upcoming shoot. Looking for something shot on a cyc that does some cool color changes. Like white cyc to blue or red.

Kessler's Second Shoot is good for lighter camera packages. They also make a system called CineDrive for heavier builds. We own a Second Shoot for timelapse and it works great. I would imagine it would handle push in and pull out shots well if using a DSLR or similar weight camera. http://www.kesslercrane.com/motion-control

Just a guess but I think there are 2 sources. One from above like you describe above 8x8 bounce or something similar. I also think there is a front light for fill. There are 2 reflections on the dogs nose and a second shadow behind the dog that's very soft.

Thanks Shane. Our director requested that everything be in focus from the table top to about 2 feet above. That's basically where we worked from which dictated the camera height, iris and focal length. In planning we were trying to get to T16 but I believe we ended up around T11 I believe. Focal length was around 100mm for most of the day and we repositioned the camera for close-ups. Lens was the 45-120 Optimo so we did a little adjusting with the zoom when needed. Using the app pCam we determined both our Field of View and DoF. For the wides we had the camera around a height of 12-14 ft. and CU was around 5-7 ft. And the set ended up changing a bit so almost nothing ended up at the 2 foot mark that the director originally said but we gave him everything in focus like he wanted with a safety net. We didn't intend to use such a large bounce but our grip recommended it so we went with it. I'm pretty sure he just didn't want to chance having to set it up later in the day. Since we had the space it was fine. We had an 8x8 as well but it didn't get used much. I was also worried we had too much light but my calculations were saying we needed it. In the end we had the budget and space so better safe than sorry. I figured we would end up scrimming the light but it actually worked out perfect. Here a few more BTS shots. I also made a mock up of the table in Photoshop for the Director to play around with. Not sure he used it but I thought it was pretty cool. Cheers! http://imgur.com/a/zj0oE

I did a similar shoot about two months ago. We needed more light than I think you are going for to get more depth of field. We had 8 different table tops to shoot over 2 days. Basic set up was 2 Arri 4k hitting an overhead 12x12 bounce for overall ambient. Then we used a Joker 800 for directional shadows depending the scene. The Joker either went through diffusion or direct depending on the scene. We also had a Aadyntech Eco Punch on hand for a few of the set ups as the directional light. We shot on a Red Dragon suspended from a jib overhead. Here's a BTS and what the table looked like. http://imgur.com/YkRMZQU https://www.instagram.com/p/BKa-ZjagHGz/ Hope this helps.

We own a set of Schneider Xenon FF Prime lenses. Our lenses are PL mount but for an upcoming shoot we will need to use the lenses on a Canon DSLR. We purchased the mount conversion kit from Schneider to put an EF mount on but no instructions. It's seems straight forward enough but it would still be nice to hear if anyone has experience doing this. Biggest question is how many shims to use. Any help is appreciated. Thanks, Ray

This is an older video but I believe it basically works the same with the newer firmware. http://www.red.com/learn/workflow/redcine-x-saving-looks-camera