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Jay Young

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About Jay Young

  • Birthday April 16

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  • My Gear
    Arri 2C
  • Specialties
    Tungsten Hard Lighitng

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  1. 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!
  2. 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.
  3. 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.
  4. And here I was, hoping for a digital camera with a base iso of 50.
  5. Do you know you can ask him over at RogerDeakins.com?
  6. 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.
  7. Don't forget LED lamps are not silent. A lot of them have fans.
  8. 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.
  9. 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.
  10. Since my cp16 died today, I’m happy to donate for modification or experimentation. It would be nice to get a working camera in the end, but if it helps further the cause, so be it.
  11. My CP-16R died today. Its mostly not worth fixing. However, I do enjoy using that lens on special projects and I don't want to give it up. I have the 10-150 zoom for 16mm in CP mount. What are my options for using this in PL, EF, or something else more useful? I looked online and couldn't find an appropriate part, and I'm happy to send it off for re-mounting, but I don't want to pay thousands. I also can't seem to find a CP to whatever adapter so I could just keep the original CP mount. Any thoughts?
  12. I have always had issues with Yedlin's work. Yes, what he did was impressive. But to what end? He won't share the workflow, or his computer programming with others. He proved it is possible to match digital and film captures in his controlled examples. He did not prove it was easy in every circumstance. In the end, I found no point in his work. Perhaps for his personal style and workflow, it helps him be a better cinematographer. I fight to shoot on film because I can't do the same. I can't personally make digital look like film. Perhaps if he released his work to the masses, film would die. Who can tell what would happen. I assume the youtube crowd would quickly make useless videos with the technology, but professional cinematographers would continue using their own workflows, film or digital. I would.
  13. Couple of 10ks ought to be effective.
  14. Eh, in my opinion, the only thing digital capture did was to make viable content that would have never been created in the first place. Now on Wendesday, I'm gaffing a commercial for a new client and we are shooting on the Pocket 6k. Does the client have the money to make a spot on film? Probably. Would they rather find a DP who can shoot it for 1/10th the cost? Of course. Do they care? No. Following that, I'm prepping a feature which is 90% digital, and the director specifically asked to shoot 16mm for a specific sequence because it needs to look visually very different. Could we do it in post? Yes. Would it cost more? Probably. Do they care? Yes. I believe at this point its no longer about cost. Producers always love to pay on the back end, and hard up front costs (film stock and lab fees) always make producers nervous. If the budget will support it, I always fight to shoot on film, because its my preferred medium.
  15. Shane Hurlbut is probably the most vocal DP that came from G side. He started driving the grip truck.
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