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Jake Kerber

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  1. Has any pricing or availability info been released since the initial announcement?
  2. In order of height (lowest to highest): Texas, California, New York. That's what I've heard/used on occasion.
  3. That's a great story. Thanks for sharing.
  4. A.C. February 2001 has an article on In the Mood for Love. Mark Li Ping-bin also shot portions of the film. Warm and black pro mists ranging from 1/8 to 1, which the article says Doyle has used on all his Kar-wai collaborations. Li used full corals on day exterior (instead of 85 filter) and 1/2 coral for interiors. Stock was 5279 and some 5289. Also mentions Zeiss primes--no specifics.
  5. Elephant - Harris Savides and Gus Van Sant
  6. Depending on the requirements to join the theatrical union, I wouldn't put too much focus on it if you're ultimate goal is to D.P. What I mean is, don't waste time on something that takes time and dedication in its own right if it ultimately has nothing to do with getting you hired as a D.P. Having said that, I think there is great value in stage lighting experience and learning from good lighting designers. There are also times where you may find yourself (as a Cinematographer) using lights originally designed for theatrical or stage productions. Depending on the size and sophistication of the productions in your area, you may learn a lot--creative and technical. So, I'd pursue it only if you're willing and able to give up a chunk of time to furthering your knowledge of lighting, knowing that it might make you a stronger D.P., but not necessarily lead directly to jobs in filmmaking. And I agree with Hal's post...theatrical electricians usually run in a different circle than movie electricians. There is crossover with features that have a lot of stage/theater sets in them--Chicago, Walk the Line, etc. and in L.A. a lot of game show/reality competition shows--American Idol, The Voice, etc.--have a lighting designer that often seem to hire a Gaffer, BB and juicers with more of that experience than location filmmaking experience. Good luck.
  7. Hi David, Not sure if I missed it in your original post, but have you decided on lenses yet? Or is that part of what you're testing soon? Best, Jake
  8. I use that term for skipping/bouncing a light off the ground. But me and my gaffer usually say "floor skip," which is a little more specific.
  9. Try: www.mole.com Here's the link for the 12k specs, see photometrics at the bottom of the page... http://extranet.mole.com/public/index.cgi?cmd=view_item&parent=-1899-1900-1905-1915-1927&id=11762
  10. 1/2 is nice--effective, but not too soft. This is advice for a small screen finish. For theatrical, I'd test.
  11. Congo Blue and Ultimate Violet will give you a look, but will not create a true UV source. In short, it will not really make phosphors glow. You'd have to use Woods Glass, but with incandescent sources this method would be highly inefficient. I'll second the wildfirefx recommendation. They are located in Torrance, CA and have a demo room filled with different lights and paints, and in my case, I brought a camera to shoot a quick test. They were helpful. However, testing their products only makes sense if you're going to be using their stuff because, I've found that blacklights and fluorescent paint or makeup varies significantly. Have you tested the fabric to see how reactive it is to UV light? Obviously, this will make a huge difference, as you could be pumping in all the UV light in the world and not getting the desired look because of the fabric, makeup, etc. itself. 500fps...good luck. Please let us know how everything works out.
  12. The shutter angles I mentioned are for a discharge source (metal halide, sodium vapor) running off 50hz power with 100 pulses per second. However, like David Mullen mentioned, it might be difficult to generate flicker at 25fps and 50hz--the angles I posted are not the 'safest,' but a different fps combined with a non-safe shutter angle would be the best combo to get flicker. Or if he could manipulate the power frequency of the stadium lights, but I doubt that's possible under his circumstances.
  13. Going off the A.C. Manual diagram, I'd conclude that anything between 120 and 150 degrees or 210 and 240 degrees. However, who really knows without testing under your specific circumstances. Good luck.
  14. Also, we dont really know what his reasons are. We are discussing a "possible" motivation written by Scot Foundas. Guardian interview with Mann: http://www.guardian.co.uk/film/2009/jun/26...-public-enemies On another note, yes (to Joe), the end scene outside the theater had a very distinct look. It felt surreal and the look seemed to echo the black and white Manhattan Melodrama Dillinger had just been watching. It did have a 'green screen-sfx-off' feel to it. Still figuring out what to make of it.
  15. I was using a Varicam stripped down as much as possible--no viewfinder, no down convertor, used an extra AB plate with extension cables to power camera (so battery was not on camera), no matte box if possible, etc. They rate the head at having a 45lb capacity. This might be true, but I think the performance and precision of the head diminishes as you near that limit. I'd keep your camera as light as possible. ----------------------- Michael Jacob Kerber D.P. / L.A. mjkerber.com
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