Jump to content

Search the Community

Showing results for tags 'control'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Cinematography Forums
    • General Discussion
    • News & Press Releases
    • Lighting
    • Camera Operating
    • AC's & DIT's
    • Grip & Rigging
    • Visual Effects Cinematography
    • Grading, DI and Telecine
    • Students and New Filmmakers
    • Cameras Systems and Formats
    • Lenses & Lens Accessories
    • Camera Accessories & Tools
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • In Production
    • On Screen
    • Cine Marketplace
    • Business Practices
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Regional Cinematography Groups
  • Not Cinematography
    • Producing
    • Directing
    • Sound
    • Editing
    • Off-Topic
    • Forum Support

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Website URL


Skype


Location


My Gear


Specialties

Found 4 results

  1. Arri WCU-4 & UMC-4: lens Mapping I don’t know what you guys think on this matter, but if you want my two cents it is crucial to be fast when you change the lens while using remote control systems, in situations such as steadicam, cranes or simply hand held when the cam operator wants to be more free than with a standard follow focus... Fabio Giolitti - Focus Puller
  2. Hey all, I'm gearing up to shoot a music video using a Kessler Revolution head as a motion control rig. I'm looking to shoot the band in a large open warehouse that has some windows but I will need to bring in lighting. The finished video will look like a one shot video where the band is performing and the camera pans to the left continuously and each time the band starts to exit frame right they enter frame left, and this happens throughout the video. I have linked a previs video I put together to help explain the concept. My plan is setup the Revolution Head in the center of the warehouse and program it to rotate 360 degrees in 4 minutes and 5 seconds (the length of the song). From here I will shoot a clean plate and shots with the band performing. Each pass that has the band performing I will shift the band to the left in a circular trajectory so I can then layer the shots in post. I'm guessing the post would require some masking but nothing too extreme. My issue is, how will I get the lighting to match and stitch consistently throughout the video. I fear that unless I light the entire space the lighting won't stitch properly. Any information is greatly appreciated. Previs video: https://www.youtube.com/watch?v=vNYeV4WKIPE&list=UU3jj9kfaAsoOB0p_K24jzvA Thanks, Michael
  3. Hi I've a shoot coming up in an environment with a high ambient level - indirect sunlight in a large white room- lots of windows - lots of daylight - but nothing too direct (windows are north facing etc) so handy in a lot of ways. However, I'm just wondering what you guys may suggest for sculpting the light a little more? HMIs are out of the client budget so I'm thinking of sculpting with the natural light as much as possible using reflectors, diffusion and negative fill. I've got a couple of kino style fixtures, but the fall off on these won't help me much in the wides and mids I imagine though I may get some use out of them in CUs. My other fixtures, LEDs won't have the power. I've a tungsten 650 fresnel but I'm not sure about introducing a hard tungsten light into the mix unless perhaps a backlight if I ctb this baby up will it still have the necessary power to be useful? Any other suggestions? It's not a problem having all the ambient as it's a fairly upbeat talking heads style shoot, but I just wanted to have a little more control over the environment, and it's always handy hearing what others would do - great way to learn :). Knocking out the ambient to have complete control over the light levels - as I know that sunlight temps and levels will be constantly changing won't be something we'll do too much of though I've done it a lot in the past. Changing light levels won't be much of an issue as although the shoot is full day the interviews are short and don't need to look the same.
  4. Up for sale is a Preston 3 Channel Wireless Remote Control System. It was used as a backup System and is in very good condition. The package is ready to shoot. It is located in EU. Asking 12.000,- Euro 1 PRESTON FI+Z Handunit w. Rubbergrip (Sr# 2154) 1 PRESTON FI+Z Transmitter (Sr# 49213) 1 PRESTON Microwave Receiver MR (Sr# MR-1186) 1 PRESTON 3 Channel Motor Driver MDR-1 (Sr# 1327) 2 PRESTON Motor DM1 with 15mm Rod (Sr# 1080, 1079) 1 PRESTON Iris-Extension Unit 2 PRESTON Fast Charger 4 Batteries Cables: 2 Motorcables 1 GPI-PRO > MDR PwrCable 1 MDR PwrCable 4 Start/Stop Cable f. different Filmcameras 1 Irisunit > Handunit Cable 1 Handunit > Motordrive Cable 1 Powercable 220V Brackets, Gears: 2 PRESTON Motor Brackets 2 Distance Disks 15/19mm 1 Bracket MDR > GPI-PRO w 4 Screws 2 15mm Rods f. Dovetail-plate 3 15mm Rods Red 3 15mm Bars blue 2 Gears Fujinon 1 Gear Extension Primelens 1 Gear F Zeiss HS Accessories & Spares: 2 Receiver Antenna 2 Transmitter Antenna 10 Scalerings 5 Scaledisc Flat 2 Scalebar Flat 1 Neckstrap 1 Accessory Bracket 1 Bag: Receiver Screws 1 Pelicase 1600 Case 62x53x23, 15kg
×
×
  • Create New...