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imran qureshi

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  1. Hi Paul, having the same issue, I cant find anything mitchel to 75mm in the UK. May I ask what your solution was? thanks
  2. Hello all, I am focus pulling in a one take music live session. We can do multiple takes. We are going to be shooting wide open on a 25mm DZO vespid prime lens at t2.2 (will close down accordingly if we end up needing a deeper stop for focus). Sensor is 35mm (canon c300mk3). The subject is stationary but the camera starts off wide and tracks forward to a close up. The move will be entirely handheld. I will be using a remote follow focus (nucleus m). I know that for a Dolly move, many focus pullers use the bolt in the middle of one of the front wheels as a reference point to place incremental marks on the floor either based off the lens markings or just 1ft incremental marks. In my case, as it is handheld on an easyrig…should I be using the operators feet as a reference to place floor marks? I was originally thinking I could ask the operator to put a bit of camera tape on both shoes in line with the floor marks so that I could use that as a reference? (Ie, when the tape on either foot aligns with my floor mark, I know to hit my mark). or should I just simply try to eye the floor marks so that its in line with the sensor plane throughout the move? any ideas greatly appreciated. Thanks!
  3. Thanks David. It is a mini series with 7 eps so think that ep/scene is plausible but not sure what the slate number would be referring to 🤔
  4. I was looking at BTS pictures from a British tv show I really enjoyed (‘This Is Going To Hurt’ by Lucy Forbes) and I couldn't understand the slates. I am used to using ‘Scene, Slate, Take’ in Britain but also am familiar with the lettering that US productions do but have not see n this method before.. Scene is written like a fraction, the slate has a very high number on it such as 912 etc. could someone please enlighten me? Thanks!
  5. Hi, thanks for posting! It may be my wording but this isn’t what i’m trying to get at with my question. I'm not asking what the difference between object A and B is. I'm asking; With the inverse square law in mind, Let's say I meter object A at f2 and Object B at f4 (take one) then I decide to do a second take where I increase the output from my keylight and meter object A at f4, does that now mean that object B is f8 as you would expect? my question is about how light output affects fall off. Hope this makes sense.
  6. Thanks David! Do you reckon that they have purposefully lit the actors with light that is closer in kelvin to whatever the camera is rated at and left the background to go blue/uncorrected? or Do you reckon they have have just lit the entire scene with cool light and then separated the green in the set design from the magenta skin tones and accentuated the difference in the grade? Cheers!
  7. Here is the full scene: I really like the separation between the skin and the green surroundings as seen here; I know there are many ways to achieve this but I'm wondering if anyone can give their opinions on if they think this was done with production design/grade/light or a mixture of all of them in this instance? I would have assumed that there is some underexposed uncorrected daylight source outside the windows creeping in and then they have keyed the actors with a soft source that is closer in kelvin to whatever the camera is rated at. The uncorrected daylight is then shifted green in the grade. This look is also reinforced by the production design because the walls probably has a green tint anyway. However, There are a lot of images I have found on google from this scene with a completely different look. I don't know if the film has more than one colour grade because I can't find any information to confirm that. It doesn't look like the production design itself has much green, more warm brown colours. I also can't really tell if there is a different in colour temperature between the subjects and their surroundings or not? This may be unhelpful but this is the only behind the scenes I could find from this scene, it shows some of the lighting but they aren't very good pictures I'm afraid; Love to know any thoughts on how this look was achieved. Thanks!
  8. They look as if they are floating, I assume they are clamped into something on the walls but could anybody expand on this? would be super useful to do this on location. To clarify I am talking about the two lights I have circled in red, not the light that is articulated on the junior boom. Thanks!
  9. good point about the bending and not being able to slide back in. Thanks! I am planning on building a menace arm out of pipe like this in future, but the parts are sometimes hard to come by in the uk, not impossible though so ill just keep on the look out. Till then i’m going to be using the junior booms, hopefully it will be okay with balancing the 5kg lights. cheers!
  10. Thanks!! To confirm for future reference, if the counterweight that comes with the boom is not enough (lets just say just in case), is it okay to keep adding counterweight until proper balanced is achieved even if it goes over the 10kg payload or would you recommend to stay within 10kg near enough all together (counterweight and lights combined)?
  11. I want to boom a 5kg light on this boom arm at maximum extension but I would need to put around 15kg or so of additional counterweight on the other end (a guess) at maximum extension. as the max pay load is 10kg, I was wondering if this is safe. The people I have emailed at avenger seem to be giving mixed messaging, i think maybe the people doing the costumer service just aren't sure. I spoke to two different working grips and they said that the counterweight wouldn't count towards to max pay load as the counterweight would only help the pin strength. So I think I'm probably good to go but if anyone knows for sure that would be greatly appreciated! Thanks
  12. This is true, the minimum extension is 163cm and says max pay load is 40kg. Ill have to ring manfrotto/avenger on Monday, thanks!
  13. So I am thinking of buying an avenger d650 junior boom. Its chrome steel silver and extends 300cm long. The max pay load at minimum extension is 40kg. The max pay load at maximum extension is 10kg. I am wondering if this max pay load refers to everything on the boom (light and counterweight on the other end of the boom) or just the light? I am hoping to boom an aputure 300dmk2 with a lantern, roughly its just under 5kg. If i was to mount this on a boom arm fully extended I would estimate that it would take around 25kg of counterweight to make that balanced and stay horizontal. (This doesn’t take into account the clamping force on the pivot or other variables so it would probs be a bit less than 25kg). The boom itself already has a counterweight of 6.7kg already attached, I assume this doesnt count towards the max pay load. So that means to boom a 5kg light, i would roughly need to have a bit under 18.3kg of counterweight. This means all together (both counterweight and light on either end of the boom) i would be putting 23.3kg on the boom arm and thats well over the max pay load at maximum extension. This maybe leads me to think that the max pay load only refers to what you’re booming on one end? Because the boom would be pretty useless if the 10kg max load referers to both counterweight and light. Wondering if anybody can shed some light on this? Thanks!
  14. Ahh if it is 1/10th of a stop faster that is my answer! Thanks
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