Larry Stone

@Phil Rhodes

Studies have been done on this sort of thing, particularly in the context of why children in Asia, particularly east Asia, tend to do better on tests of mathematical ability than children in the west. I'm pretty sure that I once read a study which suggested there actually was a very small biological influence on that sort of cognitive ability in the population in question, but that social pressures were vastly more influential. I can't find that study now, but there are plenty of others, and the overwhelming conclusion is that it's overwhelmingly cultural. That is to say, Chinese kids excel at maths because their parents, schoolteachers and society in general pressures them to do work hard at it, not because they're genetically predisposed to be better at it (or at least not by an amount that matters much).

I'm just going to say it! This whole paragraph is RACISTS. Please take all the time you need to find that study you read, I like to know what institution, author and science journal published that study. 

Things are different if we compare men and women. Men have a better ability than women to mentally solve abstract three-dimensional problems, while women are better at location recall ("where is that object on a map") and that is so consistent among the two populations we're comparing that there is almost certainly a large biological component to it.

Racisms and Sexism go hand in hand, I'm not at all surprised you made this statement. 

This means that, at minimum, we need different interventions, with different criteria for success, for issues of underrepresentation based on gender as opposed to issues of underrepresentation based on ethnicity. That's just one example of why this is not a simple problem.

This is based on the above Men are Better at problem solving, while women are better at remembering thing, or the Study of Math and East Asian children? 

It is very tempting to reach for a conclusion because it's simple or popular. However, to solve this problem in a way that's fast, effective and fair to everyone, we may need to accept conclusions that are complicated, unpopular, and don't justify much moral outrage. We might need to accept that certain groups appear underrepresented but actually aren't, or at least not as much as it might seem. We might also have to accept that where there is underrepresentation it's because of social, political or cultural pressures which are causing people to self-select out of particular careers, and that the most appropriate solution is to try to change those pressures, not simply to exclude people until an arbitrary level of representation has been reached - because then we won't actually have solved the underlying problem anyway.

You really took the time to type out this RACISTS and SEXIST GARABGE to say to imply "Someone Parents pressured them to study something other then Film" so that why large groups of society are underrepresented in the industry. 

@Stuart Brereton

Larry,

Accusing others of holding views that they haven't actually proposed, without offering any solution of your own is rarely helpful in a discussion.

I'm correcting that now. 

 

To address your points:

  On 9/11/2020 at 9:47 AM, Larry Stone said:

1.We Need to Study the Problem. (Cause I need Time To Deny I Recognize Discrimination.)

We do need to study the problem. We need to know what levels of participation we should reasonably expect from minority groups, given a non discriminatory industry. If we don't know that, how will we ever know that the measures are working?

 

Given a NON DISCRIMINATORY INDUSTRY the participation levels would be equal. So Let's not focus on a magical number, as something we need to work towards. Let's focus on being inclusive, and welcoming to everyone. 

  On 9/11/2020 at 9:47 AM, Larry Stone said:

2. They aren’t applying for jobs. (I want to blame the Problem on those effected, to help me with my Denial.)

This relates to the previous point. If the levels of participation are not what we would expect, why aren't they? Is there discrimination that we're not seeing? Is there an attitude being indoctrinated into minority groups earlier in education that prevents them from seeing this industry as a viable career? Or do they simply not want to be in this industry in the numbers we imagine?

allowing the industry to gradually equalize to a natural level as older, white males retire, will take years, maybe even a generation. - stuart brereton

So you do recognize discrimination! Yet you still deny it by say "Is there an attitude being indoctrinated into minority groups earlier in education that prevents them from seeing this industry as a viable career?" I'm going to ask you is there an indoctrination taking place now? Are Racists and Sexist teaching their beliefs to a younger generation, passing them off as the "Old School Way of doing things"?
 

This last is necessarily a generalization of the industry as a whole rather than specific roles within it. For instance, in my experience, women are very well represented in HMU, Wardrobe, Art, and Production departments, but rather less so in G&E and Transpo. Is this down to discrimination or just natural preference?

I'm sure discrimination has a lot to do with this. If someone took the time to interview people in these department, we would hear similar stories on how they end up in certain departments, when they wanted to Direct, work the set as DP, Grip, Best Grip Etc. 

 

  On 9/11/2020 at 9:47 AM, Larry Stone said:

I 3. It Positive Discrimination (What I mean is, I don’t want the system to change, cause I benefit from the system.)

Positive discrimination, by its very nature, picks winners and losers on the basis of protected characteristics, something which is otherwise illegal. You cannot claim to be against discrimination that keeps you out of an industry, whilst being for discrimination that keeps someone else out out.

It's an extraordinarily complex issue, with no easy answers.

Ava DuVernay had a Production Crew that was over 50% women. 

https://www.huffpost.com/entry/ava-duvernay-gender-parity-women-own_n_5dc1a27de4b0615b8a9a5681

"Be We Tried And Made It So" - Ava DuVernay.

Now you might point to how this as "Positive Discrimination", and I wonder if you ever "Pointed out Discrimination"? It's not complex, you just need to try!

@Frank Hegyi

No one applies for anything. All the hiring is personal connections and word of mouth. If producers formalized the hiring process I bet 90% of this issue would go away tomorrow. 

Thank You Frank. While I don't believe 90% of the issues will go away. I think those of you in the industry can start recommending people and building a more diverse crew.

 

 

 

 

I see We’ve reached this point in the conversation:

1. Discrimination is wrong.
2. I Recognize Discrimination. 
3. I know it unfairly effects certain people.

But Let’s Not Make any Changes cause:

1.We Need to Study the Problem. (Cause I need Time To Deny I Recognize Discrimination.)
 

2. They aren’t applying for jobs. (I want to blame the Problem on those effected, to help me with my Denial.)
 

3. It Positive Discrimination (What I mean is, I don’t want the system to change, cause I benefit from the system.)

If you can’t change the world, Change Your Actions! 

22 hours ago, Phil Rhodes said:

The idea of giving chances to specific people sounds nice, but the inevitable consequences involve taking chances away from someone else, someone who has done nothing wrong.

This is Happing Now. 1 of the Down votes.

I’m currently read “Lighting for Digital Video and Television” 4th Edition.

Book states 15 amp Edison plug 110v you can use a 1200w light. 20amp Edison plug 120v you can use a 2k. Lights only, you can’t plug anything else in. 
 

Hope this Helps or leads to better answers

Good Luck

Dedolight 2015 Competition, someone submitted a tutorial video. Good luck with the project.

link: 

 

7 hours ago, Jay Young said:

What I find is that inexperienced DP's, and often producers, feel the need to rent expensive LED fixtures.  This may be useful in large scale applications where adjusting the lamps would be more costly because of rigging, or specific computer control is required.  Mostly, on low budget featuers for television, this is not the case.  

On low budget features that I Gaff, I take a full tungsten cart, which the rental house is usually happy to give away, or near about. 

Most often I see the Skypannel or Litemat used in ways that a Leko, Dedo, or other similar source could be used, with a bounce, to produce the same effect and be much more controlled.  Most of the time, the Skypannel is requested with full large softbox, dimmed to 1% on Tungsten setting.  Then the crew is asked to dance it around.  There are existing tungsten fixtures which can do this job faster, cheaper, and better. 

While I can't say that an investment in tungsten lamps is "worth it" in a business sense for profit return, I feel there is a great need for many young filmmakers to learn which tools can save them money and time.   Something to be said about reinventing the wheel. 

You can invest in gear as you wish, but teaching people there is a better way, when blinded by shiny magic technology; that's difficult. 

Thank You 

 

On 8/4/2020 at 12:57 AM, Mark Kenfield said:

I still use my DHL4s constantly, indeed I use tungsten all the time (whenever power permits really). 

Not for anything daylight based (I stick with HMIs and LEDs for that these days) but there's always plenty of occasions to bring them out. And it's SO nice to not have to worry about colour.

@Mark Kenfield before HMI and LED lights how did you handle the mix color of tungsten and daylight?

Off Topic I'm going to try your mobile umbrella book light contraption, with my tota lights! Tota output 750watts. Looks like you used westcott 7ft umbrella with a 2k. Any other tips to avoid melting, the umbrella? All safety tips are appreciated!!  

On 8/3/2020 at 7:59 PM, Joshua Cadmium said:

Also, Dedolight does has dichroic daylight conversion filters for their tungsten lights, including the DLH4. So, while gelling the light will indeed cut two stops, the dichroic filter will only cut one stop.

Since you were planning on using the Light stream reflectors, Dedolight does have the Parallel Beam Attachment that increases the amount of light when in full spot by 400% (since you use it in the flood position, which gives out the most quantity of light.)

Also, while most tungsten units are cheap on the secondary market, I find it telling that Dedolights still hold their value.

@Joshua Cadmium Have you used the Dichroic Glass Filters? Reviews seem to be mixed.

On 8/2/2020 at 5:17 PM, Stephen Sanchez said:

Larry, Aperture must have something up your alley, no?

I created a post "Help with Photometric". The Answers in that post and my needs/wants ruled out Aputure Lights.

Update:

In large open room with plenty of daylight, my plan is to use and manipulate the natural light, by using reflectors to light the subject. Depending on the look, I might use a tungsten/daylight balanced dedolight as a hair/kicker light, bounced fill from a reflector under camera position, etc. 

Currently using a Tota light in 40x40 softbox as key light. In room(s), with closed curtains. By adding dedolights, I looking to go from a 1 light setup to 3 light setup. I also like the precision focusing of the dedolight for still life photography. They've been on my wish list for years, and the current sale makes them affordable. The HMI/LED versions are out of my price range. 

Thank You to everyone for replying. 

@David Mullen ASC 

Quote

However, if you are traveling with a small package that needs to work in both daylight and tungsten rooms, with limited power, a bi-color LED might make more sense.

This is a small one person crew, I'm only looking to light one person for Interviews or Short Narratives Shots. 

If a Daylight Conversion filter is used, I know I'll lose one stop of light. The Dedolights are just for Fill, Hair/Background and Kicker light. I should still have plenty of light to work with. I'm using bounce light, when dealing with rooms that have lots on natural light. Unless I'm confused, these are 120v lights, I shouldn't have issues with blowing fuses. Are my thoughts on how this works wrong?

Larry

Hey,

I want to purchase a set Dedolights DLH4  along with some Lightstream Reflectors. I like the versatility of these lights, wanted to know from industry professionals if Tungsten lights are on the way out, in favor of Bi-Color LED lights? Silly question are Tungsten Bulbs on the way out?

Energy Department Prolong Lives of Incandescent Light Bulbs.   

If so do you think a replacement Bulb will take its place?

Larry

@Satsuki Murashige

Well again, I wouldn't use any interview light at 2' from the subject and wouldn't recommend that you base your calculations on that, as it's just not a realistic working distance for most interviews. You might want to check the photometric tables for those lights at 6' and see if they'll still work for you.

Thank You for the reference images. I going to check the photometric data, and do a little more research. Again Thank  You.

@Gabriel Devereux

"need to output at least 100 foot candles at 2ft, to be useable in any interviewing set up."

I'd recommend something a little higher. With your Nikon be sure to test! I say this as when I owned (now) relatively old DSLR's anything over 200 ISO I considered too noisy. Do some tests rating your camera at different ISO's and choose one you consider acceptable.

I'm just using the rule of 100 foot candles at 2ft 100 ASA as a tool for researching. Testing the ISO is a good idea! Thank You Again for your answers.

Thank You @Gabriel Devereux

I appreciate you taking the time to provide explain the light lost with the diffusion. That really helped me understand light output. 

Thank You again @Satsuki Murashige for your time and in-depth answers.  No go on the Skypanel. 

I don't own any Lights at the moment. Using a DSLR Nikon D750, I think I can go up to 800 ASA/ISO(still researching that). I was comparing different lights, looking to see what would be a good fit. I pick a Fstop of 5.6, cause I want to avoid purchasing anything that was limited to just Fstop 2.8, better yet 100 Foot Candle. The photometric are from the Kino Flo freestyle 31 510 foot candles at 2ft and the Kino Flo Celeb 401 858 and 401Q 1058 Foot candles at 2ft. All these models have front diffusion built in. I've never worked with any kind of panel light, I guessing you don't need the extra diffusion. At 400ASA/ISO that the two of you have recommended the Freestyle would be a good fit for interviews and the Celeb's would be over kill. And any lights I end up purchasing need to output at least 100 foot candles at 2ft, to be useable in any interviewing set up.

Thank You Both.

 

Thank You Satsuki,

I was checking to see if I my calculations were correct. I'm looking at 3 different soft light open face light panels.

The smaller version has 510 foot candles at 2ft,  with a diffusion panel the light lost would be 1 to 2 stops. And I want the ability to keep my Fstop at 5.6, after doing the math I think the larger version at 1058 foot candles at 2ft would be a better fit. Would I end up around 400 foot candles, if I was using the larger version? Using this for talking head interviews. 

Thanks 

I've read a few forum post about foot candles. Looking for a little help to see if I'm on the correct path. 

Quote from David Mullen ASC different post. 

100  foot-candles = f/2.8 (at 24 fps / 180 degree shutter) at 100 ASA.  Remembering that will make it easier to break down photometric data on lamps.

Every f-stop number is the double or the half the number two stops over, i.e. f/1.4 to f/2.8 is a two-stop jump. f/2 to f/4 is a two-stop jump.

Sunny 16 rule, that the exposure is f/16 when the shutter time value under 1/ is the same as the ASA, so 1/50 at 50 ASA = f/16 if shooting under direct sun on a clear day.

 

My Question

400 Foot candles at 100 ASA = F5.6, this would include any diffusion place into front of the light. No matter if its 2ft or 20ft, F5.6  needs 400 foot candles from the light source? A fill light would require 200 foot candles? 

Thanks

 

https://aladdin-lights.com/fabric-lite200/ or https://www.fjwestcott.com/flex-cine-dmx-bi-color-mat-1-light-set-2-x-2

 

The Price Point of each is about the same, the technical spec are kind of close. Westcott has a IP 64 rating, no IP rating listed for the Aladdin. The Aladdin is a 3x3 while the Westcott is a 2x2. Westcott seems to have more light modifiers and accessories. That's all I could find. After reading a "youtube" comment in which the author said Aladdin made the Westcott system, I started to wonder if this was true. I've seen plenty of led panels list for sale, with a quarter of the price for each, in similar sizes. YouTube channel Indy Mogul did a review, which they tested the Westcott led panel against 2 other cheaper brands,  even suggested that people purchase the cheaper brands. My thoughts are you paying extra for the Westcott IP Rating, and the full range of light modifiers and accessories. 

My original question is who is the original, and who is the knock off? 

17 hours ago, Jan Tore Soerensen said:

C100mk2 sounds like a better fit tbh.

Jan, Thank you for replying.

The C100mk2 is also on my wish list. Why do you think it's a better fit? 

Are the video files easily editable with Premiere Pro? Do you currently create work with this camera? 

 

I had this ENG on my wishlist, the current sales price makes this a good entry level camera for me. 

I'm looking to create short video documentaries, and social media videos. I can't afford anything above this price level. I'm currently using a DSLR to experiment with video along with gopro action camera. I have a few small business owners that are interested in me recording events, parties, meeting etc for their clients. I know this would be able to handle those request, the cameras is almost 10 years old. If you don't mind check out the specs and giving me your honest opinion, I would love the feedback before I purchase. I only have until 12/31 to decide. 

Thank You

On 1/22/2018 at 12:49 AM, Max Field said:

For instance I've noticed if someone has or walks in with a DSLR there is immediate trust lost.

Pictures/Videos can be made using Cellphones, Action cameras, DSLR, ENG cameras and Cinema cameras. The client/customer expectations are part of the deal. Client ask for Broadcast level production, pays for that service then yes trust is lost. If client ask for social media level production, what's wrong with a DSLR

Thank You both for replying. 

I was able to talk them into something that didn't involve me. They seem to be happy. 

I recently started doing personal video work, short clips of friends with DSLRs and Gopro cameras. Now friends want me Produce a Youtube show(s), cause I have the all the equipment and experience. This is a labor of love! Friends want US to share in the profits if any. I want 60% of any and all profits to go back into show maintenance(gear up keep), plus ownership/split profits of the show(s) and all merchandise. I want to propose $500 to $1200 total for a 6 month show test, this way I cover my time and gear, while offering a decent rate to friends.  

How would you handle this situation?

On 8/8/2019 at 12:03 PM, Phil Rhodes said:

Funnily enough, there's a brilliant video on the Indy Mogul YouTube channel about use of water, featuring an intelligent, hilarious and good-looking British guy.

In short a garden hosepipe is enough for even reasonably large areas, but the real issue is having control over that area. Don't wet down an area that some unsuspecting member of the public might drive or walk on.

P

Thanks Phil for the cool tips!! 

Good Job. I'm still new to all this, I didn't see anything that stood out as terrible. It's a Music Video, shouldn't you be able to play around with camera, lighting setting/set ups? The point is to be creative, guide the viewer, you did that.