Andrew J. Fann

Thank you, David! Also, that was a great thread by the way. Thanks for being so open with your info.

Thanks, Satsuki! I will check it out.

Hello Everyone, I know every way under the sun (no pun intended) to replicate sunlight with an HMI for various times of day, but what would yo do to replicate it if you only had something like a tungsten fresnel? I'm just curious how all of you would replicate sunrise, midday, and sunset with tungsten. Thanks in advance! Also, sorry if this has been asked before.

So, I've posted this on a few forums, and if you've seen this already, I apologize. I just bought an old set of Came TV 900 LED panels for a very low price. They are very bright and the quality of light is great, but they have a magenta shift. Do I send them back or just buy some plus greens and go on my way? Does anyone else own these panels, or have this issue?

Yeah, Brett, I know how you feel. I didn't realize how many local television stations were working in the past and using even less than bare-bones equipment. I also thought that this was going to be a stepping stone to something better, but there are people here who have been working like this for about a decade. I've interviewed with some larger stations in bigger cities, and some had cinema style cameras and lighting/grip gear, but not all. As handy as it has been, the DSLR revolution seems to have really hurt creative services departments. They got used to being able to save money in that department, but now that things are shifting back towards larger cameras, they don't want to spend the money. I feel my work is starting to suffer, and I don't want to get stuck in this rut, so I need to be brave and make a change. Thanks, Michael and Adrian, for your feedback. I really appreciate it. I'm thinking that I might do the ASC masterclass in LA, and then hang around for a bit after and see what I can get into.

Hi, everybody. I'm currently working as a creative services producer, but I want to get into working on larger productions. I'm currently kind of between the levels of lighting cameraman and cinematographer. Can anyone give me advice on how to get some more experience on a larger set or more training with cinema cameras? I'm open to any advanced training programs, shadowing, or assistant jobs. I already know that I'll need to move to an area with more production, but any other advice on the subject is greatly appreciated. Thanks in advance.