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Stephen Sanchez

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About Stephen Sanchez

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  • Birthday 10/17/1985

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  • Location
    Tampa, Florida
  • My Gear
    FS7, FX9
  • Specialties
    Light study & commercial cinematography

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  1. Of course that's for the whole 40' run.
  2. Okay so for a 9k 40ft cyc (1k IRIS every 4 feet), the wall spot-metered for middle gray at f22. In-camera, 30p at 1250 ISO. Monitoring on a Rec709 LUT, this read as: f8 at 80 IRE, f5.6 at 90 IRE, f4 at 100 IRE. It seems that one stop on the FS7 is 10 IRE. 500fps is around 4.2 stops more than 24/30 fps. If my math is correct, if you want to be at f4 and a 100 IRE cyc, the 4 stops needed for slow-mo would be 144,000 watts, or x14 10ks. Oh my...
  3. You're worried about flicker with tungsten? I've never shot that high FPS in tungsten light before. Are you able to run an FPS test with some tungsten light on a wall somewhere? As for the cyc level. Given that it's white, it doesn't take too much power to make it hot fire. I've set 9 of those IRIS cyc lights for a 40ft cyc with 14ft height and 250 diff in each. I think I had set the IRE of the cyc to 80, which brought the iris to f16. At 1250 ISO, 30fps. I'll have to double check if that's right.
  4. Hmm. I wouldn't put a heavy camera package on a plastic release plate like that Manfrotto. Gitzo makes great quality stuff, although geared more toward photographers. Their head you linked doesn't have a quick release. You'll want some kind of quick release, as opposed to trying to line up and thread a heavy cam package onto the head. Also I don't think those manual-style heads have a counterbalance spring, so once you loosen the tilt, it's on you or the operator to keep the weight from flipping forward or back. Perhaps look at some ebay fluid heads made for video. You don't need a h
  5. I asked Cartoni for an explosion diagram for one of their unsupported heads thinking I would do the same thing. Nope. They are so complicated. Unfortunately, heads are specialty gear with specialty parts for specialty technicians. And servicing them costs. I've not ever found a 3rd party repair house for fluid heads. But who knows. If you find one, Tom, please do post their info. I've wanted to repair a head with a similar hitch in it's step. Vitec may have a list of authorized service shops for Vinten equipment, if you can't find "Ratdog's Video Repair Hole" somwhere .
  6. Haha. We could start a wireless vs manual Follow Focus debate. Shooters, pick your sides!
  7. Yeah, I had to find another head. Ebay is a friend.
  8. I realized I totally mispoke previously. On your question. Halfing of light is logarithmic, and thats what you meant. And to have dimmers that do the same, yes, I think that would be great. I think some exist, but I'm unsure of their technical accuracy. What I meant was the same, to have accurate halfing of light in a dimmer (even marked) as opposed to something formulated for a consumer's comfort.
  9. I'm sure you've already seen this paper from eldoled. What we perceive isn't always accurate to actual intensity. Sound may work the same way. Guitar volume pots can be linear or logarithmic as well. I had a log one installed when mine was rebuilt because the original pot was quiet until half-way up. I don't know how the connection to inverse square relates to human perception. I think the log dimmers are more for human comfort or ease, like the new pot on my guitar. For film gear, while we make or buy dimmers from off the shelf, it would technically be better to have an accurat
  10. I see, Viggo. Ultimately, if in doubt, shoot the way you are comfortable with. You'll learn with every setup. All these concerns arise from different points of views on imaging. Every shooter has different values and different approaches. Some lean more towards artsy without a concern over the capture technology, some operate under arbitrary "rules" such as "tungsten-only" or "raw-only," some consider quality of image first. My favorite photographer, Karl Taylor, is probably the only human in the world that considers every individual factor before capture. Every shooter finds th
  11. The LUT route may be a good option. This is the time to test that theory. Set that fixture up in your house and do a pass with red light and then white light and try to grade it to match. Being that it's a monotone image, it may be easy to complete. And compare the two for quality. My suspicion is that due to the large amounts of black in the scene (which I love btw) and already low levels, it will get quite nosy if relying on one channel for image reproduction. Plus your shooting tungsten which boosts the vacant blue channel more anyway. I'm for completing a look in-camera, but ther
  12. @Tomasz Brodecki, what if he just uses a 4x brighter light?
  13. Oh convex. Not concave. That would act as a flood. Nevermind, please disregard.
  14. I've mounted them in similar clamps on walls and such but not specifically a kino fixture. To compare, I've used cardelinis to hold them. You can feel the plastic buckle if you overtighten, but they still hold. And that's more pressure than the kino clamps. They'll work with any regular light dimmer, even the handmade ones from home despot.
  15. A convex mirror! Now that's fun. What a thought. That should spot or flood the light depending on the distance from the fixture correct? So there'd have to be a distance sweet-spot depending on the curvature of the mirror, right?
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