Jae Solina

$9250 ursa mini pro 12k your saving $1200 plus due to taxes.

$8250 Arri alexa 

Bought the Ump 12k October 20, 2020. This camera is overkill for home videos and travel. Will come with ef and pl mount, vmount battery plate, davinci resolve 17 studio and original box.  Will ship FedEx 2 day when paypal clears payment. There is a small chipped paint by the F1 button as seen in the picture below. Let me know if you have any questions. Due to the value of the item I cannot take returns and refunds. I can also record a small clip showing the camera works if the final buyer wants to. Save yourself some cash. $9500 and the ursa mini pro 12k is yours. 12K IMAX in your cargo pocket. 

Selling my arri alexa classic too. Just need lens and you are good to go. I actually bought this from someone here.

The package includes
Arri Alexa Body with Highspeed License Operating Time 1458 hours
Arri EVF (Not installed)
V-Mount battery plate (installed)
Gold Mount battery plate
Leitax EF Mount (installed)
PL Mount (Not installed)
64 GB SXS Card
SXS Card Reader (No cables)
Odyssey 7Q w/ ARRIRAW License (can shoot arriraw up to 60FPS)
2x 512 GB Odyssey SSD Media
2x SDI Cables
VCT Base plate
Hard Case

Will ship UPS Ground after paypal gives me a green light. Asking price is $8500 for the entire package.

Longtime BMC user here. I would absolutely love to see you use a blackmagic camera. You do such great work. I absolutely believe the Pocket 6k will look amazing on your hands. 

23 hours ago, Mark Kenfield said:

Hey gents,

So I tested the Forza 500 up against my Profoto 1200w HMI today, and figured some of you might be interested in the results.

Long-story short? I was sadly underwhelmed by the output of the Forza.

Colour-wise the Forza was very impressive. Effectively equivalent to the HMI bulb according to my spectrometer. And the beam from the LED is remarkably even too (evidently a COB has significant advantages over an open-faced point-source light in this regard)

Output-wise however, there's clearly still no replacement for displacement. At 800 ISO and somewhere around 4-5 meters away from the lights (I didn't measure the distance, as I was only interested in comparative output), using a 50 degree Profoto Magnum reflector on the HMI (focussed to an evenly-spread beam), and the Forza's slightly tighter-beamed standard reflector, the numbers came in at:

- Profoto 1200w HMI: f/11 + 2/10
- Forza 500w LED: f/5.6 + 8/10

So approximately a 1.5 stop advantage to the HMI (that's three times more output - you'd need three Forza 500s to match the output of the 1200w Profoto)

Pairing the Forza up with it's Fresnel attachment (which works well, and has a pretty remarkable 45-10 degree range) I got:

- Forza 500w LED @ 45 degrees: f/5.6 + 1/2
- Forza 500w LED @ 20 degrees: f/8 + 6/10
- Forza 500w LED @ 10 degrees: f/11 + 1/2

Zooming the Magnum reflector on the Profoto in to create it's most intense hotspot (the hotspot being about twice the width of the Forza at 10 degrees - but the outer edges of the beam still spreading close to 50 degrees overall) I got:

- Profoto 1200w HMI: f/22 + 8/10

That's just a hair shy of f/32 (and with broad-beam reflector). With a tighter reflector that didn't lose as many lumens to the broader surrounding beam/spill those numbers would go up even higher.

Which suggests to me that these higher-output COB LEDs are basically still on par with HMI on a lumens-per-watt basis. Now if we were comparing to an HMI fresnel, we'd lose around a stop to the lens, and there'd be less in it (maybe only half a stop). But compared to any open-face HMI (bug-lights like the K5600 Jokers or this Profoto of mine, or any Arrimax HMI like the M18) there's still a massive difference in output.

I was kinda hoping there wouldn't be, so I could pick up the Forza 500 or the Aputure 600 and have all the output delights of the smaller HMIs, without the all bulb-blowing/5-minute warm-up times/and the joys of proper colour-shiftless dimming. But I fear we'll be waiting some time yet before we get there.

Thanks for the test. I'm pretty excited about these powerful LED's. Technically 3 Forza 500s are still cheaper than at 1.2k HMI right?

3 hours ago, AJ Young said:

I wouldn't be surprised if they used negative fill, actually. I did it on this short with a similar looking shot:

 

Did you shoot yours by eyes or meter?

The only thing i hate about bouncing unbleached muslin is the spillage. Be prepared to have a lot of flags.

On 5/24/2020 at 5:35 AM, Stuart Brereton said:

Usually, Muslin is used as a bounce material. Roger Deakins uses it a lot, sometimes with HMI lamps (usually bleached muslin), sometimes with tungsten (unbleached Muslin). It's a lovely soft light, without any specular quality, like you sometime get from harder bounces like griffolyn.

You can also light through it, but it takes a lot of light to do it. Robert Richardson did this on Snow Falling On Cedars, but he was using maxi-brutes and dinos to do it. It's a very inefficient use of light. I doubt there are many LED units on the market that have enough punch  to push through muslin.

Tung

5 hours ago, Giray Izcan said:

I would just leave it like that and let the subject get silhouetted against the bright background.

Figured as much. They probably just used a nice monitor and lit it by eyes. I like the fact that his face still has detail and the shadows are dark but not noisy. Even for youtube it looks nice

Good morning! Hope everyone is well. I am curious to see what people think about the key to fill ratio in this shot. I'm trying to learn more about back lighting and i really like the mood of this music video. Thanks guys!

Hey guys does anyone know what stand he is using here for the overhead example at 2:13? It looks like a regular cstand but the arm is very long. Thanks.

Overhead

1 hour ago, AJ Young said:

Mirror boards from the standard grip companies work great, they're simple in design. Matthews, MSE, American, etc. They're heavy and require a solid combo stand.

Also, here's the photo (idk why the image won't load):

 

Man that looks amazing. What was the diffusion? Where would you put the mirror if there were two people in the car? One driver and one passenger?

On 5/4/2020 at 9:02 PM, AJ Young said:

@Jae Solina I see that you're in Texas! Depending on where you are in that state, constant sun light may actually be plentiful. I've shot a lot in AZ/NM/LA deserts and mirror boards were incredibly useful.

This above shot is from a feature I did in 2017. We used a mirror board shooting through a 4x4 frame of 216. We had to "shake it up" every few minutes, but that only took a few seconds of work. TONS of light from mirror boards & the sun; I was able to balance the interior exposure with the exterior with little effort!

Mirror boards can save a lot of time and they can also eat it all up. Keep and eye on the weather and be prepared to shoot a light into it if clouds start rolling in.

I can't see the attachment for some reason. What mirror boards do you recommend?  All i can find right now are matthews'. Im guessing shake it up means adjusting it? Thank you AJ

On 4/25/2020 at 6:18 PM, Guy Holt said:

Working in New England I too learned the hard way that it is better to put a light into  mirror boards than count on the sun. Mark Twain once said "if you don't like the weather in New England , wait five minutes and it will change."  A smaller light, like a 4k, into  mirror boards is a great way to replicate the feel of an 18k on an aerial lift.  The objective to putting an 18k Fresnel on a lift  at a distance is to replicate the angle and hard parallel rays of the sun. As you can see from the production stills of a Bose commercial below,  you can accomplish similar results by bouncing a 4k ARRIMAX from the ground into mirror boards on stands or a lift.  This set up gives you the hard parallel light of an 18K at a distance because, even though the light from the 4k spreads, the  boards at the window collimate the light by reflecting only  parallel rays.  You can get away with a smaller light since the distance of the throw is not as far. And you don't have to worry about the sun moving behind a cloud or a tree (as you can see in the stills below, the sun would not naturally shine through the windows of the workshop.) A 4k ARRIMAX is a good choice of light for this purpose since it has a lot of punch for its power and can be powered off a Honda EU6500 or a dryer receptacle with a 60A transformer/distro as pictured below.) In the Bose commercial we warmed up the 4k with half CTO to partially match the tungsten heads inside.

Guy Holt, Gaffer, ScreenLight & Grip, Lighting Rental and Sales in Boston

Mr. Holt. You seriously need to consider making a masterclass. We need more resources regarding gripping and dp'ing. Thank you for this.

On 2/21/2020 at 3:35 PM, Miguel Angel said:

@Varuj Chapan, I lit this kitchen (twice because there were two different sequences in it with different tones) with 8 litemats on each window from the top to the bottom (there were 3 windows).

It was on a 4th floor with no access to balconies, scissor lifts, cherry pickers, etc, etc.

There is nothing else inside the kitchen other than a 8 x 8 net behind the camera on the wide shot and on the right side of the camera on the close up of the girl.  

The stills are ungraded by the way!

Were the litemats right on the windows or a couple of feet away? It looks fantastic in my opinion.

Thanks for the feedback guys. I think im going to go check it out to see how bad they are color wise.Insert other media

 I hope all is well with you all. Has any one ever used portable light towers like what's below for making movies? You get so much power for cheap, I wonder if I could use something like this instead of an HMI. No one wants to ship an HMI to my location for rental and buying is not an option unfortunately. Thank you in advance.

https://www.unitedrentals.com/market...-light-tower#/

What a great insight. Thank you very much!Im still waiting for him to finish.

Good afternoon beautiful people of cinematography. I hope all is well with you. I know this forum is a cinematography forum but this is probably the only place I actually get feedback. That being said, I hired someone in upwork to help me with my screenplay. Am I now responsible for putting him as a co-writer when submitting my screenplay to film festivals? Will I have to put him in the end credits if I somehow manage to film the said screenplay?

bmforum is not as active as this one unfortunately. thank you for the input. mr hurlbut used DIY metal halide lights light metered at 5600k. Honestly, i am thinking about investing in hmi's. i will check out the link

Hmm odd. Nevermind. I tried the same set up with my red dragon camera. I am now getting bluer 5600k. Guess camera matters.

in that case i actually needed more background light since i had it turn down it was too bright. I guess i need to get a brighther key light? Thank you

first off happy belated birthday to you sir and thank you once again for your reply. Basically the harsher the light the bluer it should get? I did bounce the 120d off the ceiling so i guess it wasnt really 5600k by the time it hit the back wall. That makes sense. 

Team. Hello. I have purchased Shane Hurlbut's how to light night exterior on his website (the link below is part of the series but is not the one i am trying to replicate). I am trying to recreate the colors he is getting with the warm skin tones but blue background light. On the course his camera was set at WB 3800k and the fake moonlight is set at 5600k. He used a red dragon on his example while i am using a pocket cinema camera 4k for mine. Why does my 5600k (Aputure 120d Mk 2) look so much more neutral than his. Is it because of the dragon sensor? Is it because of his metal halide back light?  Or is it both? Thank you all for your time. 

My screenshot link: https://drive.google.com/open?id=1yP0Hv8PzIDFMvZbPM5vrSegQe-NR6Uzd

Jae, your English is excellent.

 

Is it supposed to be day or night in the scene? The location already looks creepy in a good way. I'd consider playing around with color temperature in-camera, making the hallway lighting blue-green and the talent's key light neutral.

 

You could try hanging bare Kino tubes down from the drop ceiling, as if they were originally installed there but got ripped out along with the ceiling tiles. Another cool thing might be to hide some LEDs up there on a DMX controlled chase pattern to simulate fluorescent ballast flicker or electrical arcing.

 

I think interactive lighting would be cool. How about some strong beams from outside sweeping across the windows and doors? I'd consider strapping a few Parcans onto a platform dolly and having a dolly grip push it back and forth on track. You could have an electrician stand on the dolly and also pan the lights back and forth.

 

The transluscent trash bags are a neat idea - maybe cover them with streaks of dirt or flecks of dark liquid for an even grittier feel?

 

Something that would be creepy to me is if you had a lighting cue that switched instantly from day to night at key moments in the song. Maybe there are extras walking around in the day, but they vanish at night. Or the opposite. Just an idea.

 

Last idea, if you are allowed to add graffiti to the location, what if you had some artists do it with UV fluorescent paint? Then you could use UV fluorescent tubes to make the graffiti glow.

Wow! Thank you for all of the ideas. I should have stated. It;s going to be a night scene. What would be the best position for a key light if the talent is standing where the picture is taken. Will an overhead work or should i have him stand beside the window and get keyed by the window lights. Thanks.

First of all i apologize for my bad english for its my second language. I need your help trying to light the attached image. I would like to give it a very dark/horror lowkey look. I am thinking of punching some lights through the doors and windows and use smoke for that Spielberg effect. I am also thinking about taping some translucent trash bags on the windows so that it would break up the lights so it wouldn't be too harsh. Do you think what i am trying to do is a great idea or should i just top light the musician instead or backlight him similar to this video

https://www.shutterstock.com/video/clip-19215859-stock-footage-skateboarder-moves-on-a-skateboard-along-the-corridor-of-an-abandoned-building.html?src=rel/4949642:1/gg. Thank you.

I did it a lot on the feature Don't Knock Twice, actually. Did it on many of the night interior scenes in the big mansion - especially the darker ones where there was only moonlight coming in. But don't have any good stills or examples to show at the moment. I'm trying to get some clips from he distributor I can show, but so far no luck. You know how that goes...

 

If I can give any tip, it is: always carry a Source 4/Leko light in the package. Sometimes you might ned to cut a very sharp or specific patterned light and place it in a far corner of ceiling or something, just out of frame line, to give a little light or backlight. Very, very useful. And also works very well for "room tone" without spilling everywhere. They have saved my ass more than any other light throughout the years.

 

A good example of when it saved my ass was on the Eminem video for Rap God. Em was going to levitate towards the ceiling in the most climactic rap scene. Director want to shoot it from below, so even though the ceiling was pretty high, by looking up, there was no place to hide a big toplight or "god-light" shining down on Em. Nor was it possible to hang anything there. What to you do? Well, we ended up double sided-taping a bounce card up into ceiling, skirted it with some black cloth we taped and shined two Leko's into the bounce card from ground just off frame. Voila, godlight/toplight created. You can see it from 4:28 in the video. You even see the skirt around the bounce card in some of the shots.

 

https://youtu.be/XbGs_qK2PQA?t=4m28s

Could you possibly also share the lighting set up for the same music video timestamp's 0:26 and 2:13? What aperture do you guys usually shoot eminem at since he moves around too much lol. He is probably an AC's worse nightmare.