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Joseph Tese

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Everything posted by Joseph Tese

  1. I recently re-watched Swiss Family Robinson (1960) and the intro sequence of the ship in a storm impressed me. I simply don't know what capabilities were normal for the time (high budget or not) and how they were able to pull certain things off. Some of it looks so real, and then other parts like the wind/atmosphere/water look generated. Practically, how did they pull off the storm? What type of equipment was at their disposal to do this? And where (physically) do you think they shot (On-Location) vs (Completely Fabricated Environment)? I wish I could find a higher quality video, but here:
  2. Not yet. Ideally I’d find material that works as a blanket intensifier, like the s60 and Gemini 1x1 panels have. That would be the design I find most useful, then I can swap that with something soft if need be as well.
  3. Is the BR30 style lensed differently, to offer more throw? Or is it essentially the same characteristic as the a21, just flagged on the sides?
  4. Hm - Very interesting! So, interestingly enough, a Lowes here had the GE sunfilled at a discounted price of $2.50 (usually they're around $13). Thanks to this, I went ahead and picked up a bunch with hopes to find some time to DIY something 🙂 Had a gift card so nothing lost!
  5. Hello, I'm helping with the design and lighting of a news set that will feature long runs of horizontal and vertical RGB chase sequences. There will be a long line of frosted plexiglass embedded into the wall that will be backlit with the lights. I'm wondering what RGB lighting will provide good results, without also breaking the bank. Knowing it will be diffused heavily by the frosted glass, I'm curious if I need tight pixel control such as titan tubes, or if there are more cost effective options that don't have as "smooth" of a gradient. Obviously, these lights need the ability to daisy chain together with DMX to be seamless over a longer span. I'm not trying to cheap out here, but knowing where these lights will live (behind frosted glass as a background element on a wall, vs Skin Tones) I'm also wondering if some lights more popular in the theatre/live event world will be suitable... or if I will run into color issues on camera.
  6. Hello, I might invest in some diopter/close-up filters for macro work. For my application, I will be utilizing a mattebox that can accept circular filters with step up/other adapters, or 4x5.6. But I've only seen them in circular format. I'm sure there's a scientific reason for this, and practical cost reason as well. Regardless of the drop-in method.. On Schneider's website, it seems they are only offered in one large size. This leads me to believe that you can use a diopter that is larger than the outer diameter of your lens?- or Would it change the amount of magnification (or anything else for that matter) if there is a diameter difference between the filter and camera lens? I just want to make sure if I invest in a large diopter(s), it won't matter whatever camera lens I use it with. And if it does, what I should be cognizant of.
  7. Hello, I building a shoulder rig with a BMPCC 6k PRO. When it comes to rungun situations where I may not have a 1st pulling for me remotely, does anyone have any rig recommendations for pulling focus without having to compromise my hands from being on the shoulder rig handles. My go to thought was to get a focus motor and wirerless controller which would be rigged onto/next to the handle. But this is another piece of electronic gear for these smaller situations, where I would still appreciate the simplicity of manual FF systems. The Zacuto Z-Drive seems to do exactly what I would want, but I heard mixed reviews. I wonder if a whip can securely be positioned next to the handle without being too clunky . Is there another piece of hardware that can accomplish this?
  8. If you plan to utilize gels often, specifically for intense cct changes or color effects, you have to consider the color accuracy issues with gelling LEDs. It’s not like gelling tungsten. Slight alterations from the led base color are more widely accepted.
  9. It seems like you come up with something you’re relatively happy with. Because the light is so close to the window, the falloff is great, as you know, though. I understand it’s a student film, but it also might be worth mentioning the idea of using mirrors. One could rig mirrors and then blast jolekos or something with a long powerful from the ground, creating a more uniform source. But then you again have the issue of getting the mirrors high enough and at a 45degree orientation. thinking even crazier one could see what sort of options there are to rig from the roof - but this is absolutely not recommended without proper safety gear, professional rigging crew and equipment, etc. Remember..safety. I don’t think this is practical advice for your situation, but fun to think about more possibilities as an exercise.
  10. There’s a bunch out there, but here’s a small, simple, portable one in light of the op’s needs. https://www.bhphotovideo.com/c/product/833611-REG/CHAUVET_DMX_4LED_DMX_4LED_4_Channel_Dimmer_Pack.html/qa It just depends on what your needs are..mainly power. That pack is not rated for a single 1500watt globe, for example. But there are more beefier dimmer packs out there, that may have an “input” of something other than edisons, like Bates or cams. For the wireless side, you have to choose a wireless protocol, which will determine your wireless hardware and visa versa. CRMX (also known as Lumenradio) is widely popular and many led manufacturers incorporate their chip into the fixtures directly now. There are many wireless dmx devices that use this protocol, like a Ratpac Cintenna/AKS combo. The cintenna goes into the dmx port of the dimmer pack. The AKS is your transmitter, and can connect wirelessly to your iPad (it makes its own WiFi signal) if you wish to configure it that way. Your iPad can run software like Luminaire , or if you’re feeling spicy use the Blackout app, which offers more customization. Also, it may be worth noting that Dadco makes lunchbox/dimmer combos that have wireless transceivers built into them, to help consolidate some of your pieces.
  11. Maybe (at least the far flag) is shielding unwanted light on the casino dealer/extra. But blocking shadows from the camera movement makes sense too.
  12. Aputure has made led practical bulbs with built in wireless technology. But if you want to dim incandescents, you can get a simple Edison dimmer pack that has dmx. Then put any wireless dmx dongle you’d like in there, and connect it to a board / whatever.
  13. If you’re looking for more edge than the balloons can offer, why not edge the crowd from the narrow end of the beach? Don’t know if that’s creeping into the shot or not.
  14. Joseph Tese

    DIY Dimmer?

    I made a 2k dimmer with a Lutron rotary that matches the dimensions Ed said. I wish I remember where I got the enclosure, but i think it was a heatsinked design that seemed to work well. Even with that size, and using 12g wire, it was a chore to cram everything in there.
  15. I'm sourcing some small rig parts for a shoulder rig / baseplate combo to attach to a tripod as well. The tripod is the Davis & Sanford ProElite, 5-15, actually advertised as having a "Euro Plate Style". I don't know if it actually matches the actual OConnor mounting thread distances on their plates. But it looks like it would. The rod clamp I would need the tripod plate to fasten to is either: Small Rig 1775 or Small Rig 1798 (Which is just the 1775 but another plate on the bottom?) I'm wondering if the plate on the d&s is too short length wise to meet the far ended mounting holes on either the 1775 or 1798. For safety, would you suggest another baseplate/piece to ensure compatibility?
  16. Careful. A film student will try it 🙂 😆
  17. I used them in regular kino shells no problem. You can use any dimmer. For a quick and dirty and accessible dimmer, In my experience, lutron dimmers work the best. That being said, I have had multiple issues with dimming quasars with triac dimmers, such as random pulsing issues.
  18. Adding to Canon's EF suspension and focus on RF, I guess the assumption is that Canon will make all the cameras "above" C70 to being EF/PL Swappable, and the lenses to PL. Speculation.
  19. I fall into the category you speak of, of being so used to the Canon EOS line and their lenses. I did some self mental abuse comparing both the FX6 and C70. Wish I could have them in front of me, but fell back to what I felt confident in, the EOS line. I've never had any issues with the C300 and C200 AF ability, was always impressed. But, like we just pointed out, that's been my world - not able to compare it side by side to other systems. Ultimately, I sometimes toggle to AF for shoulder mounted scenarios, or for run and gun B-Roll and tracking people while handheld.
  20. Thanks for the reply. Considering the budget and type of work, and in light of your reply, I am shying away from the cinezoom idea and heading back to the regular af/photography lens market. Again, concerning AF, I also assume Canon glass is going to be optimized greatly for Canon camera's AF abilities. The RF lenses look like great quality, but I'm a bit confused by Canon's decision to suspend EF lens creation? Especially knowing, that the C300mkiii is a great partner to the C70, since they share the same sensor. The C300mkiii I believe can never swap to an RF mount - I think that would require a whole new body because of how short of a flange distance it is. The RF camera mount is great as far as adaptability to other lens mount types, but not the other way around. It makes me not want to invest in RF lenses, knowing I can't use the glass on C300mkiii or other cameras "above" the C70. So, the RF lens market is appropriate for only C70 and mirrorless users. It pushes me back to just investing in EF canon glass for my scenario.
  21. Good Morning! On behalf of a new corporate video department, I am helping build the equipment and workflow. As you may imply by the name corporate (or may not), and highly considering the C70, the type of work can and will vary in scope , where versatility is a huge consideration (run and gun single/2person operation, with the potential to evolve into more complicated setups). The 15.5-47 Canon CineZoom caught my eye (which had a crazy price drop in the past year or so). Then I discovered the 18--80, which is more of a hybrid lens between DSLR and CineLenses. The 18-80 is a manageable weight that may not require rails, and in situations with minimal crew and fast setups, the AF on the 18-80 will come in handy. I can only find the 18-80 and 70-200 boasting AF capability in that line. I know there will be times the T4.4 will kick me in the butt. Do you know of any other "hybrids" that boast Cinequality and functionality but also incorporate AF? Do you feel that there will be more of these lenses as the two worlds seem to be merging more and more?
  22. Matthew’s options are perfectly right. If you value a complete “out of the box” solution vs diying cables and batteries (which is not difficult btw), you can get a battery/inverter combo like this..https://www.google.com/amp/s/www.bhphotovideo.com/c/product/1437588-REG/interfit_nom100_nomad_portable_battery_pack.html/amp One of those nomad batteries will power a dedo for about an hour. So if longevity is needed without having to swap, a deep cycle battery(s) with a much higher w/h rating is needed.
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