Jay Young

Shooting 800iso + 45-degree shutter = 2 stops loss Set light meter for 24fps @ 200iso = this is what I set on the lens Working stop of T8 should reflect that on the meter @200 iso correct? OR, I can set the meter at 800, and subtract 2 stops. 16 on the meter = 8 on my camera. Secondly, I should be able to key light with a 650w Tungsten Fresnel at full spot from 10' which should give about 500fc. Then, I can use a 5K at 20' on flood to provide about 200fc, or two stops down for fill. Does that sound about right?

I don't usually rent cinetapes, but I also don't usually put myself in situations where the AC can't see the lens - However, I have 10 pounds somewhere and would very much like to test this out. When you get to the "I'm going to make several prototypes" phase, let me know.

I'd sure watch it, if its allowed.

I still find it hard for me sometimes, especially after a long day of shooting, to switch into digital mode; Digital sensors have a maximum photon threshold, and film has a minimum photon threshold. And, because of this, I find myself doing far more tests with digital cameras, as they tend to reach into the darkness...

I'm glad I came to watch the trailer. I glad its not another zombie film. Also, $750,000 is over 900 rolls of stock. More if they didn't pay list price. Was this quoted price inclusive of lab fees as well?

Visual Products quoted me $695 to convert my CP to PL mount, and I understood them to say it was the same for all CP cameras. That seemed to be a straightforward price and job. I do wish I had a video tap, but I'm not paying more than the camera is worth for the option!

I read that they did shoot all candle lit, but some shots had extra candles on stands that could be brought in; a large Kubrick. Having just watched this for thexample first time a few weeks ago, I was interested to read up on it.

I have 16 days, and 98 pages. 80% of it is dialogue, interior day. 9 day EXT and 5 Night EXT scenes. I think we have plenty of time, I'm just trying to be cost effective.

The lining package that we currently have budget to rent consists of: 4x4 4x2 2x4 2x2 kino tungsten/daylight 2x Leko 575w 19 & 26 degree lens 3x 1k fresnel 1x 650w fresnel 3x 300w fresnel Couple of off-brand LED units This morning I've been doing a lot of soul-searching to try to justify using the kinos versus using an open face or fresnel tungsten unit with a softbox. I am rather old school when it comes to the approach of selecting units and if it were me I just like the whole thing with 5Ks. But we don't have the budget to rent power for large units. The decision on whether to shoot at a physical location or whether to shoot on a studio set has not been made. If the decision to shoot on a set goes forward, then I will no doubt light with all tungsten as the studio in question already has tungsten units rigged from the grid. However I would like in put on dumping the Keno's in favor of renting more physical units and grip it to control. I very much like the look of a 48-inch softbox with a 60-degree grid. I have yet to see more than one or two setups with key knows that I really enjoyed.

For weeks I have tried to use the search function only to be given "no results found"... It seems that if I am in a subforum, then the search function works for that particular forum, but if I am at the top level it does not work at all. Anyone else having issues? I guess I'll retire to google and search the site from there.

Have you done tests at higher ISO? Remember that the Blackmagic cameras simply shoot at 800 no matter what, and encode the metadata to tell the software (ideally Resolve) at which ISO to interpret the footage. I would first shoot uncompressed RAW tests at each end of the speed settings. I find that while 1600 is noisy, I seem to get much better results out of the shadow area and highlights that are decent. But, at 200iso, the highlights go very quickly - its un-intuitive. Also, Blackmagic cameras need a bit more light that one things. The Alexa tends to reach into the darkness more; the Blackmagics tend to need about 1/3 overexposure - from my experience.

Technically it depends on the lens, its construction, and the size of the image circle at the specific focal length. 90% of the time, its usually ok, and slight vignetting may occur. You can always mask the image to suit your needs.

Yes, I am still waiting email back from PV. I read some documentation that states there is a SDI plate which attaches where the recorder would normally sit and provides SDI breakout - but as usual, Panavision material with actual information is hard to come by. If the breakout box actually has a dual link output, and the recorder box I would use can understand it, then I suppose all is well? Guess I'll have to find out the hard way.

Does anyone have any experience shooting on the Genesis with an alternate external recorder? We all feel a file based workflow would be best, and I'm sure I can find any of the new SDI 4444 ProRes XQ recorders that will work, however I have no idea what kind of signal gets output from the camera. We can't afford an Alexa cause they're popular. I love the look out of the Genesis and am working with PV to try to put a package together that works with the budget.

If, at a time studios cannot purchase a flat rate electrical service from the provider, then it may come to pass that LED's will be more used. Also, LED's are not pretty. If you triple diffuse them, they start to get almost usable, but then you've lost all the power. There are plenty of new lighting technologies. Some older technology we don't use anymore, but the tungsten has remained for centuries because it works.

I've never seen one. Buy the 2k tungsten, be happy.

On the other hand, the last time I tried to rent a carbon arc from Mole in LA, the hateful lady on the phone basically told me that because no electrician existed in the world that was trained to operate it, they would not rent it to me. When I advised I had such, Mole basically told me the electrician would have to verify with them the operation of the lamp. I don't understand how some companies stay in business. They declined to rent to a large EU production trying to source as many carbon arcs as possible for the same reason... The problem is not finding rods, the problem is getting your hands on a unit! Carbon arcs are not hard to run. You just need a genny van, lots of heavy cable, and to make sure your buddy didn't replace a carbon with a stick...

I don't understand why people think they can't get carbons. Last time I did an internet search I found at least four companies that still manufacture carbon rods.

Agreed. I emailed the Director and said exactly that. He has yet to mail back, but I suspect he will understand the lack of funds for equipment and crew. I advised that we might be able to pull off a low contrast look, but that's about it.

I've signed on to shoot a micro-budget feature. Director wants High-Key, Comedy elements, family friendly. Budget is the problem here; I can't rent a 5-ton truck for 25 days. There are 49 Day INT. scenes. Figure shooting at 800asa, with a generous stop of T4, erring on the side of 2.8 split. I have at least one HMI and possibly two in the 1200w range rent-able for this production. Since I can't light with big tungsten, I'm thinking of going Kino 4x4's and hoping there is enough day ambiance to make T2.8, shaping with bounces. I would rather not use the HMI inside, and I will not have access to a smaller Joker (such as the lovely 400). That leaves supplemental 1K's and 650's to taste. I also have Tweenies and Inkies available, love those. My initial thought is to key light with 4x4 Kino's, and give separation with LED or small tungsten units. I've only briefly spoken to my gaffer about this; we're meeting Monday. Becuse we will be in a real house, I am hesitant to use wall spreader and top light, tho if I can get away with it, I will. Lastly, I should say that I feel the director really wants low contrast and not "high key" like a TV Sit-com. My initial goal is to just keep everything within about 2 stops. I am going to do some tests to see how the director feels about the look. Any thoughts or suggestions on how to achieve a high key feel with minimal equipment (LOL) would be appreciated. Any thoughts or suggestions on how to achieve a high key feel with minimal equipment (LOL) would be appreciated.

I am personally a Big Daddy URSA user myself, and Tyler said most of what needed to be said - while I do not have recent experience with the new 4.6k sensor, I can say if they purchased the camera then they should look into having Mosaic Engineering build a OLPF/AA filter for the URSA-Mini. While I have seen very nice results from Black Pro-Mist filters, which sometimes can cost about the same, the OLPF does not give the same effect as it is a behind the lens filter that replaces the one built into the camera. Give them a call, its sure to save headaches! The 4K, 2.5K, and HD 16mm sensors all needed about 1/3 to 1/2 overexposure to get really great results for me personally. However, again I have not used the new 4.6K sensor which may be more true to the meter. They're great cameras!

42" Samsung Plasma Someday, I'm going to go get my Brothers 60" Plasma because he bought a new 'gaming' telly... He is a game designer, so his needs are different.

CP batteries are a bit expensive most of the time. You can find them on eBay often. Whitehouse Audio Video sometimes sells them, as does Visual Products.

OH GOD YES! I've thought about every shot, and fences, and grass, and building texture, and clothing textiles, hair! I have an AA filter on my Pocket, but I can't get those built into rental cameras sadly.

I'm suppose to shoot a pilot, if it ever gets scheduled, and I've decided to go with the URSA x3 - PL. I'll be in a controlled environment, shooting about 400iso. I've been thinking about how best to use the camera for a long while. I shot the teaser on the Cinema Camera, and it looks fantastic. I'm not sure how people get all this noise or poor image quality out of the thing - but I guess if you give it enough light its happy. Maybe that's the problem. If you use the camera's as they were intended, they seem to work well.