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harryprayiv

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About harryprayiv

  • Birthday 12/17/1981

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  • Location
    Boston, MA
  • Specialties
    Cinematography, musical composition and arrangement, guitar, tenor sax, Lighting, collecting music, Eastern religions, editing, 3D modeling/animation, compositing, music and sound mixing/recording, literature, robotics, engineering, etc.
  1. I am wondering when depth of field considerations won't be an issue even at F/0.7. Didn't Panavision invent Panatape so that you can effectively measure a distance continuously and have a lense motor act upon it? If not, I will get right on it...this seems like a no-brainer for such a high-tech industry.
  2. I've always heard that Kino's need to be specially modified to operate underwater. Anyone know?
  3. Hi guys. Here I am, a year later and I am close to figuring it out! I am going to use the Thing -M animation motor and make my own control unit with a PIC chip and some C programmed by me. The minimum shutter time is .12 of a second...I think this is ideal for night shooting...also, I may give it the option of repetitive, programmable shutters (back and forth, back and forth on one frame in the dark until something exposes!) Here's somethingh I wrote about the brain.... ? Thing-I? replacement controller for the Thing-M Animation Motor Description: I reverse engineered the output of the Thing-M?s control unit for the purposes of making my own output unit that can also send the motor the proper signal. The control unit will be sensitive to changes in ambient light intensity through a Sekonic L558C-ish lumisphere. The annoying thing is, the L558 doesn't have a data output port, so I have to invest in a VERY expensive photo cell and lumisphere. The brain will use the photo cell's resistance information to calculate a shutter speed for each repetition of the exposure. In this way, it can create time-lapse images with zero-flicker and perfectly uniform negative density...even well into the night, allowing the exposure of stars if necessary. - runs on a pic chip - has a 555 timer circuit - lets you input the t-stop and film ASA that you are using with a telephone-keypad - receives light intensity information from an external photo cell or light meter (if equipped with an output signal) - computes the appropriate exposure time of the shutter - included a capping shutter mechanism to minimize shutter light leak in long delays - allows one to set the desired frame rate and manually override the shutter speed if necessary - runs on a DC battery for days - control the Thing-M's motor, the 4023-820 with identical torque to the original thing-m brain - no changes in depth of field - completely programmable
  4. Imagine pulling focus on 140mm film at T2.8?!?!?! :blink:
  5. Storaro Honored at the Coolidge Corner Theater in Brookline, MA Seeing as how I am definitely going to this event on April 7 and there is going to be a discussion panel (filled with GREAT DP's) on the last day of the festival. , I was wondering if there were any questions that people might want to ask Storaro himself. Post your questions here and I will minidisc the Q&A and transcribe it for all of you here. This is going to be great.
  6. I disagree. I think the Aviator and Collateral paled in comparison to A Very Long Engagement visually. I mean, Richardson's whole blown out blue backlight thing is played out IMO. It's a shame that films from the US are usually given 200% more chance than films that are equal if not better from foreign lands. A very Long Engagement was one of the best looking films I have seen....ever...and the Aviator was interesting, but not the deserved winner at the Oscars.
  7. Hype Williams rap videos when bling-blingin guys are wearing sunglasses!
  8. How true. How true. I worked at Loew's and quit recently on the spot when they told me to go work in the concession stand. I said, "I am not here to work in a fast food restaurant, I am here to work at a movie theater." What you say is very true..in fact, they admit that in their orientation videos, which are horrible and filled with zooms.
  9. Don't confuse range with latitude. 11 stops of visible exposure means that the filmstock can record that range of brightnesses: in other words, if the shadows in the corner under the table read on a spotmeter at 11 stops lower than the sunlit white wall opposite, then you will still see detail in both, at the same exposure setting. Latitude of 5 or 6 stops means that, for a given scene (that bit is important) you can vary the exposure up or down by 6 stops in total and still recod detail in the whole tonal range you are interested in. Any film stock has more latitude in a flat scene than in a high contrast one. But obviously you have more latitude in any scene if you use the Vision 2 stocks (with about a stop more range than the earlier stocks). Thanks for that info. I better go over sensitometry in a practical setting more before I try and hang with the big guys.
  10. Do you know what stock they use for the positive prints? or is it up to me? I'd like to see how my negs would look transferred to positive print film instead of having them transferred to still slide film.
  11. David, this is all very interesting. Are there any books you can recommend that talk about the things you are referring to (historical changes in lighting in cinema)?
  12. As the saying goes. You get from something what you put into it. Hard work and study will be rewarded with an all-encompassing knowledge of your medium.
  13. I bet such a chart would be more expensive than my means allow, huh? (MY means being under 70 dollars maximum). If not, where do you think I could get such a thing? Anyway, I think I will just eventually end up going with David and your suggestion of shooting one exposure right on, one 3 stops under, and one 3 stops over. Do you think this technique would cover the latitude of the newer Vision 2 stocks? Because I hear that the 7217 (Vision 2 200T) has 11 stops of visible exposure? I ask because the gaffer on the recent feature I worked on where we used it said that there was really more like 5 or 6 stops of latitude...he said that he prefers the 7279 to the 7217 even though the grain is vastly improved in the Vision 2.
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