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  1. Hey everyone! Cinematography student here looking for some advice on an upcoming project. I've got a short sci-fi piece coming up for which we are planning to build a set made of fluorescent or neon tubing. This is what we are going for: static.dezeen.com/uploads/2014/12/Bentle... To make things more FUN ... we are also hoping to use "glow" contacts and UV paint on the actors (we are trying to find a way to make them look like they have been inhabited by light and are now almost emitting light). So, I'm looking for any and all advice regarding these subjects! - Is it possible to film fluorescent tubing without flicker? If so, which bulbs would I need to get? - If fluorescent tubing is an overall bad option, are there any other types of light I could use for this effect? I looked at neon tubes but they are insanely expensive. - Would UV paint be a viable option for making the actors "luminescent" or are there other options? Any and all advice on achieving these effects would be GREATLY appreciated!! We will be filming with a Red Epic and I do have a decent amount of other film lighting available for fill but I need the tubing on set to and the actors to really glow! Thank you!!!
  2. I have 3 fresnels in perfect condition, you would be mistaken for thinking that they are brand new. ARRI 150w, 300w & 650w fresnels. They come in a Kata case with a wheeled trolley. no stands included. The case has some cosmetic wear, trolley has been wheeled down the street no more than once. I'm looking for a buyer based in London. I can sell individual part if there is interest. If you are interested in purchasing please send me a message and I'll send across some pictures.
  3. Hey guys I have a pile of gear for sale. The reason for sale is that I barely use the gear. Here's a list of some available items. Bartech wireless FF/ with Heden Motor and extra gear drives Kit. $1800 - SOLD K5600 Jokerbug 400 HMI $1200 K5600 Jokerbug 200 HMI $1000 Steadicam pilot - $1000 Kinotehnik LCDVF $500 Cinestar 8 $2000 U7 motors X8 $75-each Carl Ziess Cinemiser OLED $350 Wireless transmitters And much more..... See link for some pictures. https://www.dropbox.com/sh/h5no4caa36clp6l/AAB7VX7DfiQlx7nhY9sAxotma?dl=0 Make your offers reasonable. all my gear is in decent shape and mildly used. PM me for more pictures as the site won't let me upload everything here. Goodluck
  4. Gear Helps Camera Department's Smooth Production NEW YORK (April 29, 2015) - Cinematographers Eric Moynier and Michael Caracciolo shoot NBC's hit series, The Blacklist, with support from Anton/Bauer batteries, Litepanels fixtures, and OConnor fluid heads. Mostly shot on location - including Manhattan, the outer boroughs, Long Island, New York's Rockland and Westchester counties and the stages of Chelsea Piers - the show's dramatic storytelling is a perfect match for the tools. The Blacklist stars James Spader as ex-government agent Raymond "Red" Reddington, one of the FBI's Most Wanted fugitives, who comes to work with the FBI to identify a "blacklist" of politicians, mobsters, spies and international terrorists. Moynier and Caracciolo are joined on the set by A camera operator Tom Weston, B camera operator Saade Mustafa, and a third rotating operator. They deploy three Sony PMW-F55 CineAlta 4K digital cinema cameras on an average day, but as many as six cameras are sometimes rolling. They're outfitted with Panavision Primo prime lenses and zooms, and Angenieux Optimo zooms. Moynier estimates that OConnor 2575 fluid heads, rented from Panavision New York, are used 80 to 90 percent of the time. "OConnor has always been my workhorse; it's my go-to fluid head," says Moynier, who has been a fan for the last 20 years. "I love the feel of the 2575. It's like I'm holding the story in my hands. It's not a mechanical device - more of an emotional way to operate. Operating with a fluid head is very different from wheels. It's more personal, more organic. I operate with very high tensions so when I stop pushing, the camera stops in its tracks." Weston is also a longtime 2575 user. "It's a terrific all-around head that's been reliable for years, and a standard of the industry," he adds. "The 2575 is robust but smooth and responds well to a soft touch. It has a great counterbalance, and I can point it straight up or straight down." He also gives kudos to the "strong locking system," a must when cameras are loaded with accessories. "When I put an 11:1 Panavision lens on the lighter Sony F55, then load it up with Preston (camera and lens control), MDR (cable), batteries, two monitors and an eyepiece, it becomes a very heavy and long camera. But if I want to do an extreme tilt, I know the head's locking system will hold it all in place." Weston notes that the 2575 even performs well in the arctic temperatures that New York City experienced this winter. "We shot in 15-degree (Fahrenheit) weather and the lenses can become difficult to focus and zoom sometimes. But we've never had a problem with the OConnor fluid heads," he says. Litepanels 1x1 panels are used extensively on the series, too. "They're small, slim and unobtrusive, so they can be hidden and tucked away on sets," says Moynier. "And you can adjust their intensity." "I love them and use them every day," says gaffer Michael Price. "They're quick to hang as backlights, with no cables; I can add them as last-minute key lights. I even use them off camera to light a dark staircase, or I'll put one on a stand when an actor needs a little work light to study the script." Price likes how he can "change the color temperature of the Litepanels from tungsten to daylight simply by spinning the dial. And they're fully dimmable, too." He powers the Litepanels, rented from ARRI New York, with six Anton/Bauer DIONIC HC batteries, which he values for their long charge life. "We shoot a lot of long scenes, and I never have to change batteries," he says. Anton/Bauer lithium-ion batteries also power the F55 cameras. "We use the DIONIC HCs with real-time display as a source of power in conjunction with our Panavision block batteries," says Hollis Meminger, A camera 1st assistant on the show. "They are extremely useful and carry a decent weight distribution when we are handheld or going extremely low profile inside car rigs, or for helicopter and airplane sequences." He adds that the Anton/Bauer batteries are used "on everything from our monitors to wireless video systems, as well as with our camera stabilization system. The batteries have proven to be extremely reliable and very useful for such a high-impact show as The Blacklist." The popular crime drama's second season is currently airing, and NBC has renewed The Blacklist for a third year. # [Editor's Note: Photos available for download here: https://app.box.com/s/yfei1tjke4dj0xk6y23nf8ugkf6xj736]
  5. Next Generation ASTRA 1x1 Series Also Expands with New Models CHATSWORTH, Calif., (April 9, 2015 )--Litepanels® , a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, has announced the launch of several new additions to their highly acclaimed ASTRA line of LED panels. The expanded lineup now includes the ASTRA 1x1 EP series, the ASTRA 1x1 E series, and two additional models in the ASTRA 1x1 series, which debuted last year. Building on the legacy of the company's original, trailblazing 1x1 fixture, the ASTRAs set a new standard for the form and function of professional LED panels. ASTRA 1x1 EP Series: Ideally suited for independent and field production, the ASTRA 1x1 EP panels offer a light output that is two times brighter than the company's legacy 1x1 fixture. Featuring the Litepanels tradition of a one square foot form factor, the LED panels offer high CRI (Color Rendering Index). The new ASTRA 1x1 EP series includes both Daylight and tunable Bi-Color models. ASTRA 1x1 E Series: The ASTRA 1x1 E series offers entry-level access to Litepanels' state-of-the-art LED panels. Every design element has been meticulously crafted to deliver the form and function needed for the independent content creator. The new ASTRA 1x1 E series also includes Daylight and tunable Bi-Color models, and offers a light output that is comparable to earlier LED panels. With high CRI and a traditional form factor, the new series provides efficiency and versatility at an affordable price point. ASTRA 1x1 Series: To better complement studio operations, the ASTRA 1x1 series has been expanded to include ASTRA 1x1 Daylight and ASTRA 1x1 Tungsten fixtures. Joining the ASTRA 1x1 Bi-Color panel, these fixtures offer a light output that is four times brighter than Litepanels' original 1x1. For studio installations, a full lineup of accessories is available. In addition to studio use, the intensity levels in these battery-powered fixtures make the ASTRA 1x1s ideal for location shooting, especially in direct sunlight. "The response the filmmaking community had to the launch of the ASTRA 1x1 Bi-Color panel last year exceeded our expectations," said Alan Ipakchian, product marketing manager for Litepanels. "The time, effort, research and development put into the ASTRA has produced a panel that once again revolutionizes the use of LED fixtures for the creation of professional content. We've created expansions to the line that offer a variety of intensity levels and price points, making the ASTRA available to everyone. Whatever your requirement, Litepanels has the perfect fixture to fit your needs and budget. And with the modular approach we've taken, your gear, accessories and lighting style can grow with you." All of the ASTRA panels are designed with select premium quality surface mount LEDs that are paired with custom designed TIR (total internal reflection) optics. Both the new 1x1 EP and 1x1 E series offer a Bi-Color fixture, allowing users to adjust color from daylight to tungsten as needed. An internal microprocessor monitors the temperature and delivers smooth dimming from 100 percent to zero with no noticeable color shift, as well as ensuring a completely flicker-free performance at any frame rate or shutter angle. "At Litepanels, we're always striving to deliver for filmmakers," noted Ipakchian. "With the introduction of the new ASTRAs, Litepanels is bringing the most advanced LED technology available to content creators in all segments of the industry. Once people get their hands on these panels - which are sturdy, high-output fixtures packaged in a lightweight, flexible form factor - they're not going to want to light without them." The new ASTRA series employ a modern, modular design. The manual controls are ergonomically designed to allow for ease of use in the field, ensuring easy identification and manipulation of dimming controls, color controls, and power status. The panels are all produced with aluminum I-beam core construction to provide maximum durability and superior thermal management, and also feature strong, integrated aluminum accessory mounting points and lens/filter rails. All ASTRA fixtures offer an extensive list of features, including a curved yoke design with a wide tilt range, dual integrated cable guides, and a combination yoke mounted power supply with a 3-pin XLR locking power connector and optional Gold Mount® or V-Mount battery plates. The yoke also features a removable TVMP connector and additional 1/4-20 mounting points. The ASTRA 1x1, ASTRA 1x1 EP and ASTRA 1x1 E series have taken the place of Litepanels' original 1x1 panels, introduced almost a decade ago, and are now available worldwide. The ASTRA family of products was specifically crafted to meet the needs and price points of users in every sector of the market. The ASTRA EP series starts at $900 (£558), while the ASTRA 1x1 E Daylight is available at the low list price of $665 (£412). The ASTRA 1x1 Bi-Color panel has a list price of $1,500 (£930). For more detailed sales information, please visit http://store.litepanels.com/. More information on Litepanels can be found at www.litepanels.com or follow us on Facebook.
  6. Lightweight Kit Featuring New LED Fresnels Delivers for Mobile Users CHATSWORTH, Calif. (April 8, 2015) - Litepanels®, a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, has announced the debut of its new Caliber 3-Light KitTM. Ideal for webcasting, blogging and professional content creation the Caliber 3-Light Kit is designed specifically to provide the portable, out-of-the-box lighting solution that today's professional videographers require. The latest addition to Litepanels' award-winning line of LED Fresnels, the Caliber is a true Fresnel fixture with wide focus range that can be powered via AC or with AA batteries. The daylight-balanced LED offers the controllability and light-shaping properties inherent in a Fresnel light at a fraction of the power draw of conventional fixtures. Flicker-free at any frame rate or shutter angle, the Caliber Fresnel offers ultra-smooth dimming from 100 percent to zero, with no noticeable color shift throughout the entire range. With professional accessories like a color frame, correction filters and a 4-way barndoor, the LED Caliber brings the functionality of large Fresnels into a small size factor. The dimmable light provides a 1/4-20 post for direct mounting using common hardware. The fixture's compact size, high intensity output and portability make the Caliber 3-Light Kit a valuable production tool in the field. Litepanels' compact Caliber 3-Light Kit has been carefully crafted to enable ease of travel and a fast setup. Weighing in at less than 13 pounds (six kilograms), each kit contains three Caliber fixtures and AC Adapters with international plug sets. Also included are three multi-jointed flexible tripods, allowing the lights to be fixed in a number of positions, and a compact stand with stand adapter, offering additional placement options. The Caliber 3-Light Kit's contents are all packaged in a fully customizable soft case, with additional storage space provided for batteries, camera lenses and other items. Cinematographer Lan Bui recently served as a beta tester for the new Caliber Kit. "I'm often stuck in very hard situations with limited power choices, so having a standardized battery power option built right into the lights is a key feature for me," noted Bui. "Being able to set up the lights anywhere without running cables or worrying about location power is an incredible convenience. Using only the AA batteries, I'm able to use the lights to compliment the shot I'm composing." Bui added, "The Caliber lights have a surprisingly bright output for their size and power sources. The quality of light, coupled with the ability to focus the light down and use the provided barndoors, makes these fixtures a 'must have' on any travel or run-and-gun location shoot. I don't see how I'll ever go out on a shoot without the Caliber Kit again. " Caliber 3-Light Kit includes: Three Caliber Fresnels Fixtures (Beam Angle: 15° to 73°) Three Multi-Jointed Flexible Tripods Three Gel Sets and Color Frames Three 4-Way Barndoors One Compact Light Stand One Stand Adapter with Ball Head Three International Power Supplies One Soft Case with Customizable Interior Compartments "The Caliber is a game changer for professional shooters," said Alan Ipakchian, product marketing manager for Litepanels. "Our customers in this space have been requesting a Fresnel kit with high-production value at an affordable price, and the Caliber delivers for them. It's a true Fresnel fixture that produces soft, directional illumination, yet has a very low power draw. Its light weight means that it can run anywhere light is needed. We've also packaged it in a completely functional kit that is designed with an eye to future expandability." The new Litepanels kit delivers a portable, flexible and accessibly priced solution for content creators on the go. The Caliber 3-Light Kit is listed at $995 (£617) and is a great, low-cost investment for any professional looking to work more efficiently. For more detailed sales information, please visit http://store.litepanels.com/. More information on Litepanels can be found at www.litepanels.com or follow us on Facebook.
  7. Hello, Here i would like to clear some questions raised before starting a new project.. as i shared my equipment i have and the question how to use them for better result.. I am now doing a job for the first time on DSLR and have so many questions and need all the help you all can provide. The gear available to me: 5d3, 1dx Zeiss 14, Zeiss 35, Zeiss 135 (on its way) Fluid head tripod. Lexar 1000x 32gb UDMA 7 card A three year old Imac for editing. Nature of job and crew: I will be going to small villages and shoot lifestyles of people as artistically as I can. I will shoot lots of interviews with audio. I have a focus puller and lighting assistant. I want efficient frill free equipment set up that does the job. However, keeping gear light is not the first requirement, getting professional output is. The edited videos will be viewed mostly on internet and at times projected on a mid size screen. My questions: 1. Do I need another monitor besides the LCD on the camera to check focus etc? 2. Which is the best slider for price for DSLR? 3. Which is the best way to record audio? Do I record on camera or external recorder and sync using a slate? I have a BeachTek DXA-SLR available for free. Is it any good? 4. Should I use Magic Lantern software or original Canon RAW? If magic lantern, then which version? 5. What is the ideal ISO for video? And if not ideal, what is the acceptable range for noise free work. 6. Is 1/50 the only shutter speed to work at or it does not matter? 7. Will my Imac be ok for the edit? I will not buy an Imac now until it is refreshed, but just want to prepare myself on the speed of edit. Thank you!
  8. Hi Cinematography.com, I'm a second year film student and an aspiring cameraman/D.O.P. I am currently working as a junior editor at a production house for the summer, and am wondering what I should invest my money on once I've compiled enough when school starts! At the moment, I am wondering if I should invest in two decent lenses, lights, filters, and grip stands instead of a camera body such as GH4 + lens. The reason is because I will have another year of school, which means access to cameras such as F3 (Hell even Bolex h16) till April 2015 + 6 months graduation equipment rental blessing from my college, and by then I'm kind of worried that the next best deal will be released. Also I am not too crazy about 4K resolution or slow-mo... I'd much rather prefer that Wes Anderson X Robert Yeoman look or films by Hirokazu Koreeda. (I am a wide-lens fanatic) So my question is, would it be a wise choice to invest in equipments other than a camera body? Or should I be focusing my attention on something else? I'm hoping whatever I will squeeze out of my 5 grand will help me on the long run rather... If you can help me with my inexperienced and confused self, then it is very much appreciated. THANK YOU.
  9. Hey there! I'm thinking to get few new lights for my "studio" and for now i've used DIY continuous lighting. My principal question is: can i buy 3 strobes for photography and use the modeling light instead of using simple fluorescent lights? I'm asking this because i like both video and photography and i'm searching for a type of lights that i can use in both applications, where i can put umbrellas or softboxes on them. It's worth buying them? what is the temperature of the modeling light? Thanks :)
  10. Hi. Anybody with a good idea to do a top ambient room light set up that is as flat as possible, but still easy to control? Normally I use China balla or kino flos, where the main light source comes from the windows. Thank you, Henrik A. Meyer www.henrikameyer.com
  11. At the risk of sounding silly & being shut down by purist and snobs. Has anyone used an LED ceiling panel on their shoots? These options on lighting has become more price realistic nowadays. You can compare them to poor mans Halogen Work lights (not as bright) if you wish but they are an option. I hear this all the time, "only work with 'proper' equipment when on a commercial shoot", but if Garrett Brown hadn't done that, the steadicam would not have been invented even less helped the movie win the Oscars on its first unveiling. (Not saying that i am like G.Brown) I have come across a 120cm x 60cm x 1.2cm(12mm) panel with 80watts, 8500 lumens, dimmable 5500k, cri 80-85 for about $200 Hack at that price i can have 5 of these babies with lights stands with filters for 1 Diva kinoflo. Would be great to hear opinions about this. Taggerty
  12. Hey all, Question: I noticed when I applied 250 half white Lee diffusion filter on the barn doors of my Arri 1k, that it changed the color of the light even more yellow. Despite the fact that the camera was balanced for tungsten. It was even worse when I doubled up, the diffusion. This effect may or may not have happened when I used a dimmer to lower the light power, it had the same effect. If this is normal, this will make color balancing a nightmare. The lights were not on for that long, say half hour or so. Cheers, Mike
  13. Dear Sirs I'm writing a short article for the next Torino Film Festival,referring to the New Hollywood retrospective 1967/1976 ,so for write something of less flat or boring, in that era are there any common influences in the way to use light,lenses and film stocks(the retrospective will focusing on Five Easy Pieces,Mean Streets,Pat Garret and Bil ly the Kid,Klute,TheConversation,Sugarland Express,California Split ,They Shoot Horses,Don't They?,Scarecrow,TheLast Picture Show etc., to less known films like Electra Glide in Blue,Dillinger,Little Murders,The Swimmer,The Friends of Eddie Coyle,Smile,Monte Walsh, Inserts,The Culpepper Cattle Co.Cisco Pike) I really appreciate any help you can provide.
  14. Hello all I'm Cameron Caldwell (a.k.a. Sir Cactus) I have started a youtube channel and have had some trouble with lights, i have a tall lamp im using but it's a bit, well, crap. as you can see > http://www.youtube.com/watch?v=BeTZf4SMA1Q basically I'm looking for a good affordable light setup. any questions just ask.
  15. Hello, I'm selling this 4 light (2 tweenie, 2 betweenie) Mole Richardson lighting kit in like new condition. There is a little bit of wear on the outside of the case and some heat discoloration on some scrims. There are a couple of extra lamps (bulbs) too. Mole calls it their #5826 kit. Mole-Richardson Tweenie II Tungsten 4 Light Combo Kit - consists of: 2 Tweenie II 650W Fresnels, 2 Betweenie 300W Fresnels, Barndoors, Scrims, 4 Lightwate Kit Stands and Moleded (Yep, their spelling) Case - - 1900 Total Watts (120-240VAC) It is the same one as this bhphoto link: http://www.bhphotovi...eenie_II_4.html and here: http://www.filmandvi...ltweeniibe.html $2500. I am near Portland, OR and will ship it to you if needed. Also, I have more pictures (and of a higher resolution) I can email you. Thanks! ~Chad
  16. hello everyone, I'm a final year cinematography student of ftit, chennai, tamilnadu. Within a month, I'm going to do my diploma film, the academic exercise.My director wants a blue tone overall the movie. so somebody give me suggestions to achieve it since i'm a budding cinematographer. Herewith I'm attaching all the equipments i would be provided : Arriflex III, 500T (2 nos), 200T (4 nos), lenses- 24mm-290mm zoom, 24mm, 35mm, 50mm, 85mm, light- 1kw, 2kw, 5kw. I know many methods would be available like using filters and all, but i would like to know the effective method that would be apt for the mentioned requirements. By the way, the diploma genre is a thriller. Regards Kirubanidhi
  17. Here is my Demo Reel https://vimeo.com/55330379
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