Jody Lipes

can someone please explain the specific functions of the various saturation controls on the dvx-100a? what is the difference between the different color controls? is one for the warmer side of the spectrum and one for the cooler, or are they just different increments of control?

what equipment is needed to shoot a television without the pesky electron bar running across the face of the TV in frame? are there special exposure requirements? spot meter the tv and let it go a stop over or something like that?

what is this technique (combining b+w to control saturation and contrast, and color) called? and what is double printing? i am interested in using a similar method to create a desaturated, contrasty, sharp, grainless, clean image. i know that this method reduces sharpness because you are essentially overlapping two images, but i was told the level of control with regards to saturation and contrast is high in this method, and it may be worth it to sacrifice the sharpness for control in these other areas. is the lost of sharpness dramatic?

i am interested in using the double printng method on an upcoming film. i know that the natural was the first film to use this printing method. does anyone know any other films which did?

All of the rental houses are saying you don't need crystal. I know it has probobly been a while since you have been in a similar situation, but it is hard to argue with these guys when you are young, and have different information than they are acustomed to. Affraid is an interesting choice of words, however, I have budget concerns when shooting a student film which don't allow for all of the distro gear and extentions needed to get something that loud far enough away. I also don't have the man power in my lighting crew to move something of that size. I was also told today by an nyc rental house that a 2k generator won't hold a 1.2K HMI. It is hard for me to know whether they are trying to take advantage of me, or whether I actually do need a larger generator. This information goes against everything I have learned, because even with the amprage required for the initial strike, the .8K should be plenty of room powerwise. Am I being swindled, or is 2K too small for a 1200 HMI?

Thanks for the advice. Jody

so i do need a crystal generator with a flicker free ballast, and they don't make them as small as two K?

Any tips on making interior day for night when multiple windows are in frame more believable? I am planning to use ND on the windows so that outside is at least three under on 7277 320T. I am also planning on letting the windows go half blue. I can't tent the windows because it would be visible. I would also like some texture outside. However I am confused about getting light through the windows under these circumstances. How can I punch "moonlight" through the windows with my largest lights being 1200 HMI's? Would it look silly to completly black out the windows with duv? Any advise would help because I have never attempted this situation before. Thanks Jody Lee Lipes

Is flicker a risk if you are combining a flicker free ballast HMI with a generator which is not crystal sync, and shooting at an appropriate frame rate (24 or 48 fps)? My cinematography teacher, Michael Carmine, told me that I need a crystal sync generator whenever shooting with HMI's. I'm not sure if he meant without a flicker free ballast, or with one. It seems like all of the rental houses in NYC think that I am crazy when I ask for small crystal generators. I need to use 2K generators for decible level and cost. If I do need a crystal generator, do they make them that small?