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Jay Young

Sustaining Member
  • Posts

    572
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About Jay Young

  • Birthday April 16

Profile Information

  • Occupation
    Cinematographer
  • Location
    Atlanta
  • My Gear
    Arri 2C
  • Specialties
    Tungsten Hard Lighitng

Contact Methods

  • Website URL
    http://YoungPictures.org

Recent Profile Visitors

15187 profile views
  1. You defended film, but complain about what it takes to shoot on film? Then you praise digital for being able to allow you to shoot on a budget you can afford? In the DIY purchasing world, it doesn't make sense to me. If a filmmaker doesn't have any money, why buy expensive LED lamps that look gross anyway? Just get some blonds and bounce them. In the professional rental world, cameras are still huge and heavy - The Sony Venice Panavised with a full cage, 10:1 zoom and gak still weighs 50 lbs. the AC's would treat that camera no different than an Arri ST with 1000' mag. And the ST would be far quicker to setup. The gear never made a difference. But now it does. Tungsten is still cheap, and LED lights get hot. There are false statements coming from all sides. In my experience, the only thing Digital has done is allowed the creation of content that would never have been made previously. I have worked three films so far this year with budgets over 10 million in which production was given $900,000, and the producers took the rest. With named talent, they will make their money back and more. The bigger issue is that it all looks like garbage, and cameras that can see in the dark with extreme high iso's are promoting this type of shooting. Conversely, rental budgets for the gear are so low, we are stuck in a bad spot because LED's are expensive to rent, and so are generators. Its a no win scenario. Praise film for the look it gives. Don't judge too harshly, because in the professional world, all of the same tools are used. The Digital choice has caused more problems than solutions.
  2. Recently I applied for a job in which I was told they would hire a “musical DP”. Beyond tooting my own horn, how does one become a musical DP? Sounds a but like catch 22. Yes, that would have been the first musical I have shot, but I also know they don’t have the financials to hire top tier musical experience. Anyone else have any advice for future job applications? I would love to shoot a musical or 5.
  3. This gives me hope for my Kodak Cine Special! I have to admit, I got sucked into the story.
  4. In Atlanta, older lenses are renting higher than Cooke S4's. Baltars are just about the most expensive rental package. Less than 5 years ago it was the opposite.
  5. I constantly use either a Quasar 6", or an Aputure MC depending on the matte box.
  6. I thought I would update this. I actually found the answer in an offhand comment from one of the production designers for Voyager; it’s neon. the long winded explanation went on to say the Next Generation warp core, and corridors are lit with neon and they wanted a much simpler effect for voyager, which ended up being foil spun on motors for the warp core effect…. in case anyone else was curious.
  7. David, this was my thought as well, but wanted someone else to give an opinion. I’ll have to do an experiment with fluorescent drivers to find one that can mimic that on/off action in a timely manner. Kino ballasts seem to have a delay in firing the lamp? Maybe old ballasts... plenty of them on the shelves these days!
  8. I have searched the web to find a clip of this effect, but I have found nothing. I’ll see if I can make my own.
  9. I have a question about the wrap around set practices in Star Trek: The Next Generation, specifically the white bands that flash red during certain scenes. I noticed recently that the dim time on these fixtures is much faster than the standard tungsten lamp might be dimmed. These lamps flash red. This could be fluorescent tubes which could blink on/off quickly, but I highly doubt they were LED which would be used today. Another option would be Neon, but what about the white? It could be two different units set outside the flats, but that door leads directly onto a different part of the set, so it has to be small enough to fit in the wall. So, what fixture was it? Anyone know? I could have been a LOT of smaller tungten/halogen bulbs wired up with heavy diffusion to make a continuous source.
  10. And here I was, hoping for a digital camera with a base iso of 50.
  11. Do you know you can ask him over at RogerDeakins.com?
  12. Moleipso. Mole made a 2k Leko. Its giant. Its usually cheap. It will work. The Joker 1600 with leko option will be brighter, because it won't need gel, but much more expensive.
  13. Don't forget LED lamps are not silent. A lot of them have fans.
  14. 500T is the most versatile film stock ever made. It's regularly over exposed for increased density. Its pushed past 1250 iso, and it just keep going. There have always been lamps near a color temperature of 5600K. There has not been a "standard". Why do you feel tungsten is not worthy of keeping around? LED's make horrid tungsten lamps. I personally don't like HMI lighting. I like the fact that I can utilize LED's for a daylight source, but then these manufacturers also need to realise I don't want to carry around 17 pieces to make a lamp work. 500T has been tested in every conceivable way, and has proved its value. In my opinion, LED manufacturers should stop trying to make Tungsten colors and focus on daylight, what they are good at.
  15. Airstar will sell you a balloon, but they are not cheap. There is also another company, but I can't recall the name. I have not seen any balloon lights available which were made cheaper.
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