Jason Chua

Looking to sell a lightly used Joker2 1600W HMI with Zoom Beamer kit: https://k5600.com/collections/1600/products/joker2-1600w-zoom-kit Kit comes with all original listed accessories & parts and is in full working condition. Unit was lightly used in a smoke-free studio and comes with 1 x spare K5600 1600W HMI Lamp. Looking to get $8,000. Local pickup in NYC or NJ only.

Selling a used Canon 1DX Mk 2 kit Pickup in NYC preferred but will ship within CONUS. Buyer pays shipping + PayPal fees. Includes: Camera Body, Dual Bay Charger, 3 x Original LP-E19 Batteries, 1 x Hawk-Woods LP-E19 - D Tap Dummy Battery Asking for $3,100 OBO Photos: https://www.dropbox.com/sh/yg7yoiziy6hjb57/AAAF73qF93wPlWUIFRRAw-5Da?dl=0

For sale are 2 x Canon C300 Mk 1 kits. Located in New York City. Pickup preferred. Shipping within CONUS only, buyer pays shipping & PayPal fees. Both kits include: Camera Body, Monitor Unit, Top Handle, AC Adapter, Battery Charger, 1 x BP955, 3 x BP975 Asking for $2,000 each or $3,800 for both. Photos: https://www.dropbox.com/sh/bo04n47kmljzd46/AAAGYBZPZmSKyN_ZaXnLRURUa?dl=0

For sale are 2 x Canon C300 Mk 2 kits. Located in New York City. Pickup preferred. Shipping within CONUS only, buyer pays shipping & PayPal fees. Kit 1: Camera Body, Top LCD Monitor Panel w/ Original Cable, Dual Bay Charger, AC Adapter, Zacuto Top Helmet Kit, 1 x Canon BP-A30, AB Mount Battery Backplate Condition: 7/10 Notes: Serviced by Canon USA in Feb 2020 and kept in storage since. Original top handle not included (replaced with Zacuto Top Helmet Kit) Asking Price: $5,400 OBO Photos: https://www.dropbox.com/sh/bo04n47kmljzd46/AAAGYBZPZmSKyN_ZaXnLRURUa?dl=0 Kit 2: Camera Body, Top LCD Monitor Panel w/ original cables, Dual Bay Charger, Handgrip, Zacuto Top Helmet Kit, 1 x Canon BP-A30, AB Mount Battery Backplate Condition: 5/10 Notes: EVF faulty, port covers not included, AC Adapter not included, Battery door missing, Zacuto Top Handle missing wooden grip Asking Price: $4,000 OBO Photos: https://www.dropbox.com/sh/p1doakpwk3ikt3z/AAAKycYnCneAYLafqYrSrd6ka?dl=0

Hi lighting experts! Thanks for always being so generous with your knowledge and experience on this forum and I've learnt so much from all of you. I have a shoot coming up for which I would like to get your help in reviewing my lighting plan. The concept is to have atheletes in motion against an infinite black background as in the first couple attached images (IMG 7502 and IMG 7504) I've only ever done infinite black shoots in a blackout studio but due to production constraints this will have to be done on location - a multi sports hall and a air rifle range (IMG 7500 is the hall, I couldn't upload the image of the range but it will be windowless so that's easier for me) The athlete in the hall will be a table tennis player and as you can see, while the hall is fairly large, there are windows above head all around and the shoot will have to be done during day time. My plan to combat this is to shoot from one corner of the hall and have 3 black background drapes (those typically used in photo shoots) form a cove around the subject. I was then planning to boom a 4' Kino Tegra (any practical ideas how to do this? We don't have access to a proper c boom) slightly behind the subject and bounce light back into the subject using a polyform core placed below camera or on the table where the shot size allows. I'm also looking to accent the subject with some colored backlights and was thinking of another Tegra back left/right with Lee steel blue / bright pink, flagging off spill using 2 floppies and/or the honeycomb. Do you guys think this would work or do you have any suggestions on better ways to approach this situation? Thanks so much as always!

Hey again! I'm looking to shoot a short film this coming April and, being as inexperienced with lighting as I am but faced with a really ambitious (at least for me) lighting setup, I was hoping to consult the expert advice of you amazing people on the forums for some advice and help. 1. Most of the film will be set in an abstract black space (blackout studio) and while the studio I've gotten has got white floors, I'm looking to cover that with black duvetyn cloth / black bedsheets - would this work? Here's what the studio looks like: https://www.dropbox.com/s/okuqt7sr8c8iov3/12499541_10206199476526021_995253027_o.jpg?dl=0 2. When the main character first appears in this black abstract space, I am looking to create a shaft of light that comes through what should be big double doors (in this case, they are those doors in the above image - and I will probably black wrap the exit sign) and shines on our main character. There will be 2 shots to this set up: 1 is a high angle shot from a jib, creating a sort of almost german expressionistic look with a sharp beam of light across the floor 2 is a tracking shot from behind our character, with the light from the doors serving as a really intense backlight and casting him in silhouette (although I might also have the option to bounce some of that light back to fill him in). If possible, I'm looking to do a hitchcock zoom with this move as well. **See lighting diagram below as well as reference images . ***Btw, I am shooting on a micro 4/3 camera so lens lengths are for that format. https://www.dropbox.com/s/su7gt5hjcrztg5t/129854724.jpg?dl=0 https://www.dropbox.com/s/pi7lzeczvyj7vdt/4x07-Cold-Grey-Light-of-Dawn-true-blood-24392755-1024-576.jpg?dl=0 https://www.dropbox.com/s/e3h2xofvy6ypjwt/139486149.jpg?dl=0 My question is, what is the lowest wattage light source I can use to achieve this shot, bearing in mind that I am unfortunately on a shoestring / absent budget. I was initially thinking of a single 1.2k HMI or a PAR64 to get that focused beam of light but what do you think? 3. Following from that question about lighting in a blackout studio, I am looking to shoot a couple shots in such a way that the talent walks into a pool of light and becomes visible as he does so, disappearing again into the darkness as he leaves that pool of light - see diagram Now, I'm thinking of suspending a 1kW Jemball chinese lantern light to achieve this. The studio does have an overhead grid already rigged up and perhaps this might allow me to use more focused lights like a 1kW fresnel? 4. This is a question about photographing snow from a snow machine in the blackout studio. I'm having a frontal shot of my talent as a snow machine blows straight at him as well as another overhead shot of him on the floor while some snow slowly falls onto the ground (see reference) https://www.dropbox.com/s/e517fpdn9lbjo2l/movie-inspired-fashion.gif?dl=0 To have the snow show up, I'm thinking of having a light on either side of the camera punching through some diffusion such that the middle area where the snow is travelling can be seen (as well as the talent). But what do you think? 5. Finally, this is a question about filming at a swimming pool. Basically, I have the character falling into a pool of water and I will be underneath with a GoPro capturing this (unless I can wrangle an underwater housing for my A Cam, a panasonic GH4). I understand that anything to do with filming underwater is a huge pot of health & safety dangers but ideally, I would like to be able to shine a light where my talent will be falling into the water, such that from below where I will be filming, he would be cast in a silhouette. It will be sort of like this image: http://il5.picdn.net/shutterstock/videos/8623750/thumb/7.jpg?i10c=img.resize(height:160)but the talent will be partially obscuring the light source. Would be great to hear from you all if anyone has any experience doing a similar shot? Thank you so very very much for your help and sharing your knowledge!

Wow! Thanks David both for being so quick and for your advice! I was also thinking of using a circular polariser but would definitely need to do some tests for that. Like you said, polarisers require specific angles and I won't have the luxury of being in a controlled studio environment - will be shooting on a public street and into an actual store. This, and the fact that I'm looking to add some camera movement in the shot makes it all really complicated! Will definitely have to keep that point about having dark backgrounds in mind since it'll be a day scene (and unfortunately, in the interests of the story, it has to be!) Thanks again for your amazing input and hopefully I'll make something to be proud of!

Hi Cinematographers, I am looking to shoot a short film soon and there's a particular scene involving glass and reflections which I need your expert help and advise for. Basically, it's a handheld/slider shot looking through a shop window. However, what I am trying to achieve is a focus-pull of sorts where initially we are able to see through the glass and into the store, and after the pull, we see the actors as they look through the glass. Appreciate any help and advice you have in terms of how I might achieve this! Best, Jason