Bradley Stonesifer

I did a show about 3 months ago around a pool and water fountain. We had 4 kino's in the fountain, 2 2k's in the pool, a 4k hmi above and a bunch of smaller stuff. I had never shot around water and didn't want to be the guy responsible for seriously injuring or killing someone. We contacted Bender and hydroflex. These guys are great and willing to help out, give demo's and answer any general question. www.hydroflex.com Hydroflex rents lights and housings designed specifically for underwater lighting. www.bender.org Bender can provide all of you gfci's. We had a 1000 amp AC plant on set and everything went smoothly. We also had a 25k softsun on the other side of the building mounted on a scissor lift. Here is our power distribution diagram for the night. Hope it makes sense. Bradley W. Stonesifer Director of Photography

We are shooting a music video in a sound stage with no drainage in the floors. We are trying to shoot a sequence in which the sprinklers are set off and water falls on the crowd during the performance. It is a fairly small area, 30 x 50, and we figure we will probably shoot the water coming out of the sprinkler as an insert, however I was wondering if anyone had any ideas as to how to build a ?sprinkler system? that could provide a constant flow of drizzling water and be able to control it without flooding the studio. We have priced rain towers and they are just too expensive. We are trying to find a way to manipulate what is seen on camera to sell water falling throughout the space without having to deal with ?water falling on the space?. We have very little money and want to do it on the cheap. Any input of experience in dealing with this scenario would be greatly appreciated or any companies in the L.A. area that could help us. Thanks Bradley Stonesifer Director of Photography

Here is a video I shot a while back with some 35 adapters. I hope u enjoy, it's a little intense. www.f19productions.com/movies/asp_uncut.mov

In what way did you go into aftereffects. Did you export the timeline into a qt or can you open the fcp file in after effects. Sorry if this is a stupid question, I haven't got the chance to work with after effects that much. How did you make it uncompressed in after effects. Also could you do the same thing with combustion.

Okay, Here is my delema. I have a shoot coming up for a short film. We have access to an HVX and SDX900 for free. If we could out fit both with P+S technic 35mm adapter, matte box, rods, follow focus, etc....(same exact rental package) which one would you choose and why. I would be shooting the HVX in 720pn mode This Question is in regards to the cameras, not what adapter, primes, mattebox, followfocus, monitors, etc. Just the Cameras Mano e Mano with P+S technic. If you have worked with these cameras Please give me advantages and disadvantages of each. My feelings are: SDX900 2/3 inch chip. 10bit sample rate lower compression straight to chip through adapter, not through lens then adapter, then to chip HVX more resolution No tape stock Immediate viewing on laptop Our post workflow would be the same for both. Master to HDcam and then color correct. Please give me your insight, into which you would shoot with a 35mm adapter and why. Also please enlighten me into any thing I am missing in the advantages of each. I'm not the one making the decision. I need to convince the producers which is the better choice. I own a HVX200 and want to shoot the best thing possible. I have shot on the SDX900 many times, but never shot on either one with the adapter. My goal is to make the best with what I have available. Please answer ASAP, they will be making their decision within a few days.

I do want to blow out the windows, and have and amber tint to them. I'm going to try the butcher paper or tracing paper with amber gels on the lights about 4 stops over. I'm assuming the room will become filled with soft even light due to the diffusion of the tracing paper. I was going to use some practicals or small 650's on a dimmer for some kickers. Any suggestion? Bradley

"if you balance for 56k (I assume u meaan 5600kelvin i.e. daylight) and use a 10k (i assume u mean an hmi i.e. "daylight") on your daylight stock you'll get "white" light and not an afternoon amber glow." dbledwn11 We also have a sound stage shoot were we need it to feel like afternoon with the blown out windows. Process#1 I was going to shoot my color chart with an HMI(soundstage) or available light(on location) and then use a 10k fresnal (tungsten) to blow out the window's to give it a warmer feel. Process#2 Shoot my color chart with the light from the 10k fresnal and then add 1/2 CTO to warm it up when doing the scene. Of these two what do you think is better or is there another way I should try to achieve this. Bradley

I will be shooting during the day on location and want to warm up the outside light so it looks like late afternoon or early morning. Should I balance the inside of the room with 56k and shoot a 10k at the window or should I balance for Tungsten and put a 1/2CTO on the 10k. Is there any other gel that gives a realistic warm afternoon look on a Tungsten balanced light. Thanks for the info on blowing out 2/3 stops possibly even 4. I will do that. I am finishing for Video, but want to have a good negative in case we raise more money to make a print. Brad

I'm shooting a ten minute short on s16, kodak 7205 for day stuff 250daylight. the look we are trying to accomplish is very similar to the one in "Being John Malkovich"(Primarily John's apartment) I want to blow out the windows and practicals, but still have the feel of naturalistic lighting. Our plan is to put butcher paper over the windows and shoot a 10k or 5k into the back of it. Ideally it should soften up the room and have a very diffused fall off. I haven't had the ability to do many test shoots and was hoping that some of you guys have done this before. Am I going about this the right way, What are things to keep in mind when trying to accomplish this look. Thanks, Bradley Stonesifer