Jake Kerber

Has any pricing or availability info been released since the initial announcement?

In order of height (lowest to highest): Texas, California, New York. That's what I've heard/used on occasion.

That's a great story. Thanks for sharing.

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.

Elephant - Harris Savides and Gus Van Sant

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.

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

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.

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

Thanks, I'll give it a try! What density would you reccomend using for the least filtered look?

1/2 is nice--effective, but not too soft. This is advice for a small screen finish. For theatrical, I'd test.

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.

What kind of light source are we talking about?

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.

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.

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.

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

James, I took the Microdolly around the world for about six months. We were working in extreme heat, humidity and cold; sand, dirt, mud, etc.--it held up extremely well.

As you know, balancing using the crate is ideal for remote locations. My A.C. became extremely accurate at predicting the proper amount of sand and/or rocks to use. The bag that is included in the kit ripped pretty early on (that's the only piece in the kit that failed), so we substituted it with a dry bag, which was bomber the entire shoot.

If you plan on using the jib with standard sticks or legs, make sure they are a beefy set.

I hadn't used a cable driven head before this jib. Obviously it's not the best compared to a Power Pod, Scorpio or other fully remote electronic head, but it got the job done. We weren't doing extremely complex shots with it. It looks like the new head that Microdolly sends out now has a power option.

thanks guys,

but i only need visual reference not technial suggestion also becouse i don't know the space where i have to shoot.

The Devil Wears Prada

And sometimes one might want to shoot tungsten stock in daylight without an 85, then correct the blue out. It renders skin-tones differently. For example, it takes a bit of the red out of Caucasian skin.

Something to test for yourself of course.

i am about to shoot first time with the red

 

what are the IR issues with the red

If you're shooting in sunny conditions or under warm tungsten lights and using heavy ND (1.2 or higher) it's recommended you use

a Hot Mirror or similar filter to get rid of the IR wavelengths and restore the image to normal.

If you search on Reduser, you'll find a couple tests showing the effect. Once you see it, you'll understand why it's important to avoid.

Give yourself another point on the menace arm, near where the camera is going to mount, that you can run two static lines from in opposite directions out from the

menace arm. Stake those lines securely. In addition to Bob's suggestion of Stabilizing the back-end of the arm with an additional stand, this should help with

side-to-side wobble due to wind and won't interfere with the waves.

Definitely schedule this so shadows won't be an issue.

Ryan, I'm sure your rental house has both Standards and Superspeeds. You should go there and throw both sets on a

lens projector and see which one you like more. You could even do a small test in the prep area or outside in the parking lot to better

inform your decision.

Even though you may have already shot with both, testing them side by side, looking for differences or similarities will be

educational and allow the most confident decision.

Since it sounds like the director has a lot of specific imagery in mind, you could even invite him along to the test.

Not a dolly grip either, but I do know the arm has a 500lbs limit. Obvious question, but are you sure the dolly has a full charge?

This is repurposed footage from the Lakai skateboarding video. In the end credits, they list a Photosonics Tech and mention telecine at Co3.

Arri Standard or Super Speeds. If you go with Super Speeds, try not to shoot WFO--T2.8 would be preferable for what

you're after.

It has been said that the Ultra Primes 'mesh' better (image-wise) with the RED ONE compared to the Master Primes. I have yet to test this out myself,

but possibly you're not losing out if you can't afford MPs. Sorry I don't have specific examples. Maybe someone who's shot with both on the RED can elaborate.