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Jay Young

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Everything posted by Jay Young

  1. 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.
  2. 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!
  3. 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.
  4. 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.
  5. And here I was, hoping for a digital camera with a base iso of 50.
  6. Do you know you can ask him over at RogerDeakins.com?
  7. 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.
  8. Don't forget LED lamps are not silent. A lot of them have fans.
  9. 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.
  10. 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.
  11. 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.
  12. 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?
  13. 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.
  14. Couple of 10ks ought to be effective.
  15. 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.
  16. Shane Hurlbut is probably the most vocal DP that came from G side. He started driving the grip truck.
  17. Asking $3500, shipped Camera Body (Turret) 4-perf (1.33 TV safe) 1.85 Ground Glass 3x Schneider Lens set Matte box, various filters 1x 400' mag 3x 200' mag 24-fps motor Variable motor Battery (works) Battery cable Charging cable Various AKS, accessories (including Chronosynth lubrication grease and oil) Comes in two Pelican cases. Will also include 2000' Fuji expired 125, in 200' and 400' loads. Ready to ship to 48 US, shipping included. Overseas buyers can discuss current shipping regulations and costs. Questions? PM please. Footage from this camera: https://vimeo.com/364382616
  18. Tungsten will handle anything. Overvolt, undervolt. It just dims or gets brighter. There is, of course, a failure point at both ends. You can dim a tungsten globe till its effectively no longer incandescent. 120v globes can be overvolted too, before they pop. Don't worry about tungsten and gennys. For LED's, I've never worried about it either, because the cheap ones are so cheap who cares, just buy another if something happens. The Expensive versions usually come with really nice power supplies, and at that budget level, inverter generators. You should be able to rent a nice small Honda 2000i that will do everything you need. You may be over thinking it. If you are at the point where you purchased an LED unit and can not afford to replace it should something happen, it might be better to find more money. Most of the Honda units are inverter setups anyhow. Depending on what you need to power, you might go with a larger unit. Harbor Freight makes a 3500w generator which is most excellent, and $700 new. I used one for a month in the swamp. Never had an issue except low oil when I forgot to check it once. It powered an M18 without fail.
  19. I’m happy to send in my electronics for testing if needed. I also need to find a tool to get the puppy off the outside so I can do the clutches, if anyone has an idea of the proper tool. 1mm hex should do it?
  20. I would love to come, but fortunately I'm booked both weekends. Surely there are some in the region?
  21. Other than Airstar, who make excellent products, Are there any makers of small balloon lights of 6 feet or less. Helium balloon with 2k tungsten or various flavors. im happy with paper lanterns, but I would love if I could get a similar size of helium balloon with built in bulb. Maybe I’ll have to build one?
  22. The show I am gaffing currently has been an incredible learning experience for myself, and the rest of the crew. Its a first time feature for 90% of everyone, and that has caused its share of difficulties. However, I have not seen any ego, pride, or resentment from anyone on the team. The Key Grip and Best Grip had to replace themselves for the last week of the shoot (prior commitment), and I was very lucky to find two local people who are actually union electrics which wanted to fill the job. This actually helped beyond measure, when I really needed 5 electrics. I was very happy they wanted to jump in and help me out! We have really worked together, all as swings, on an incredibly small crew to pull off some huge wides and massive overnights. I only yelled once (rare for me anyhow) because the new 'never worked electric ever' 3rds didn't tape connections and that caused a delay. Problem solved, light repatched, restruck, no big deal. I am honestly happy to work with these other crew members in any capacity again, but I feel my 3rds are not going to cut it. We can teach the job, but we can't teach attitude. Of course, 3 weeks of overnights will beat anyone down. I very much understand the comments about those who usually work commercials, over those who normally work features. There were a lot of questions about why a thing was done a certain way, or how much time a setup would take because the commercial crew were simply used to doing things in a different manner. I feel the generation of YouTube educated filmmakers are going to cause more issues in the early days of working on a traditional set, being re-educated or introduced to lights bigger than an M18. I feel rather bad for new grips who have never experienced building anything with speedrail, or handling Mombos! I have been told, on this shoot, that most of the crew has never seen a lamp bigger than an M18 in real life. I guess that is the reality of very small scale, no-budget, trying to get it made, productions. And as usual, tripping over dollars to save dimes. I find it fascinating that young electrics, or those interested in lighting, do not really care when big lamps are deployed, or (a personal favorite) balloons are flown, for example. As soon as the DP calls for a Titan Tube, all hands are running to grab it. Personally, I want to create a 4-foot by 6 inch softbox for a small tungsten fixture and call it a day. Without getting into a rant, there is a time and place for battery powered lighting, and almost all of them can be solved by running a cable. I will say, when shooting at 6400 iso, the Aputure MC, on fire setting, deep in the background, out of focus, looks quite nice. However, I would rather use a tweeny and a flicker box - it would last a lot longer! Finally, let me say, I take every opportunity to teach, guide, learn, advise, and ask. I never demand, and never say no. I will offer an alternative, but most young DP's I have worked with see alternative suggestions as experimentation, because they lack the vocabulary and breadth of knowledge to entertain other thoughts. They are locked in to "what worked before". A safe space . As Michal Goi, ASC says - Throw away your first idea.
  23. You are going to fight ambient in the car, but its possible. You are also going to need diffusion on the bottom left shot. All of these can be done with the kinos. Negative fill will be much needed on this.
  24. I agree. Big lights, big setup. Power requirements are the same, Wendy lights are a bit cheaper in the long run, but I'm very partial to tungsten.
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