Max Moosbrugger

They may have been modified by Arri for lower contrast and increased veiling glare

iAs far as rolling shutters go the Venice is on par with an Alexa from what I've heard. I can't say for certain it will perform adequate for your needs, it will definitely make any dslr or mirrorless camera look like shite. However the Venice has been out for a few years now, so most likely someone somewhere was in a similar situation, best advice I can give is researching statements from people experienced with the Venice. I can't imagine that there aren't any operators that have shot the venice with a CRT monitor in the background somewhere, but what would I know, I can't say that I've shot on a Sony camera

I haven’t really established a budget yet. Right now I’m just taking a look at what’s available and seeing what I’ll benefit from the most.

No I’m wondering whether I would need to filter a mole cool light in order for it to be tungsten. U said something about a glass coating that turns the color temp Closer to daylight. If this is the case then should I avoid molecools as the goal is too have a tungsten light source with a lot of output 

2 hours ago, David Mullen ASC said:

A FAY is a 650W tungsten PAR36 globe with dichroic coatings to convert it to daylight.

A Molepar uses a 1000W tungsten PAR64 globe but no extension tube in front, which would make it a PARCAN.

Usually a Molefay uses a bank of FAY globes but they also sold a single globe version.

PARs are sealed beam units like a car headlamp.

A Molequartz is not a sealed unit, it is a reflector dish with a separate quartz-halogen bulb in the center. I think a Molecool had blue glass in front to turn the tungsten light closer to daylight.

 

 

 

I see now thank you very much Mr. Mullen. Would this mean that a mole cool would be difficult to convert to tungsten use. Ik I can just gel it but would the output loss be, given the main reason I’m purchasing this is given the lights large output.

2 hours ago, Ed Conley said:

Wattage.
 

Fay= 650 watt globes
Par - 1000 watt globes

they are both 'Mole Quartz

Thanks you very much this is just what I needed.

By the way, the model I’m considering purchasing is either the mole Richardson 4711 or possibly 4721

I’m considering buying a mole Richardson tungsten based lighting setup. I like to say for the record I’m not wanting this to turn into a debate ant tungsten vs LED as I’m already feeling overwhelmed with technical terms and whatnot?. I seeking clarification on some of mole Richardson’s lighting terms, particularly 

-molefay

-molequartz

-mole cool

- mole par

what do these terms mean and how do they correlate with one another. I can assume mole par is their line of parcan lights, but then what does molefay mean cause all their molefay lights just look like smaller mole pars. 

No B4 zooms are absolutely considerable, and I should test the crop mode with some old c mount lenses which I've procurred.

I'm curious to see what the options are for ss16 zooms with a M4/3 camera(specifically the Bmpcc4k). I'm aware that when using c mount lenses you'll pretty much always see a vignette and need to crop in on the image, but I've seen people such Wolfcrow use super 16 pl primes on the GH5. He did say that when it comes to the ultra wide focal lengths you'll be out of luck. I'm wondering if there's a relatively affordable zoom that has minimal to no vignetting at least 18 milimeters.

i've never heard of this app. I've seen cinematographers carry a colortemp meter but i had no idea there was an app, great to know!

Ur so right. I should’ve just asked them to begin with, they seem like nice people and there’s no harm in trying I guess 

I think these are it it. I imagine these lights will vary given in color given the brand I choose. I'm after more of a greenish yellow rather than than the warm comforting yellow u typically see. I'm wanting that kind of industrial murky look these lights gave off. 

No bare with me this is just a quick photo i took with my I phone so it's by no fully means color accurate. I believe the light had a little more of a green cast to it. I can't figure out what the lightbulbs were that this store is using. I wanna say they're sodium vapor, but i don't think this is the case as I live in a pretty old neighboorhood surrounded by sodium vapor street lamps which are alot more orange than this greenish yellow light I saw.  See below

wondering your guy's thoughts?

Just purchased an ikan vl35, it has a battery plate for lp-e6/n. It works perfect when the ac is plugged into the wall, but won’t turn on with batteries. I’ve tried 2 lp-e6 batteries that are fully charged. I’ve looked everywhere an no one else seems to have this issue. Anyone here had this problem

Thanks for the help, I actually have a friend who’s gonna let me borrow a set of filters for landscape work, other than that I’ll try to play around with front light tomorrow 

One of my biggest issues in my photography and videography is exposing for the skies and the forground at the same time. Many people have told me that it could do me good to get a circular polarizer, but I’m gonna wait till I have a little  more money. Then I thought there might be something I overlooked, does time of day affect this at all. I’m aware of the affect golden hour and magic/blue hour have on color and light, but will either or some different time of day help to balance out the exposure.

I will need to rethink the shot list and pre vis, in order to make it more safe and practical. Anyone know a good source where I could talk to professionals, I haven’t had any luck finding a stunt man forum

I understand, perhaps I’ve been blind sided by ambition, ambitions always a good thing but it should never overcome the actors safety.

Not sure if this is the right forum for this question but people here have always been just as helpful as can be so I'll give it a shot. I'm going to be shooting a personal short soon in the near future. I guess you'd label it in the horror genre but there a scene where one of our characters is attacked by a man twice her size. I'm going to be filming this scene in my parents bathroom. Our main actress will need to fall back in a chair on tile floor, fall to the ground with wrapped in the arms of a man twice her size(maybe not thaaaat big) and be thrown against a wall(I say thrown, but it's more like pushed a distance of 2 feet into wall). I've had many conversation with her about choreography to make sure she's feel safe and comfortable doing this. However, I remember seeing this video on the "Corridor Crew" youtube channel. I think it's this one...

He talks about using insulite to cover a floor and then painting to look like tile. This sounds like it could be necessary to do to the floor for the falls, but whens she get's pushed into the wall would it be necessary to pad the walls aswell. Anyways , not sure anyone will have an answer, but if could some resources or other  forums that would be great.

Okay so I'm wondering how do i record a color temp preset versus white balancing each shot. I've been recording all my most recent stuff in cinema DNG Raw, will that mean that any white balance i set is simply meta data that can be changed in post or will i need to simply apply presets via an external monitor. By the way thanks for being so helpful, sorry about all these questions, i just wanna make sure I'm doing it the right way

Thanks David. This has given me a lot to think about. Would setting the camera to daylight give me the most information to work with then 

This is sort of a mixed question. Long story short I've just bought a sigma fp as my first "cinema Camera". I'm in the process of growing to the next stage as a filmaker. One thing I've always wondered is what are the methods of white balanceing in digital cinematography. I've always liked the look of tungsten balanced film stock so in the past i would just set my camcorder and iphone to 3200k for mostly everything. When digital cameras change color temp is actually changing the way the image interprits light or is it just an affect of in camera post processing. If so wouldn't it just make more sense to this in post. What is the correct methods people use to set white balance on a proffesional setting, both in camera and in post production 

Awesome. That’s always been one of those images that is burnt in my mind.

Thanks for the info Mr. Mullen. By the way, how did you light the pool scene in Jenifer's Body to get the reflecting water effect on the walls.