Rick Wise
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COW Coin
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I am totally incorrect about no zebras on the Canon HV40. It has both 70 and 100 settings. This will be the camera I recommend, unless one of you comes up with something better.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
Richard,
Way too early to tell. These changes will not take place before the spring session, and I suspect, more likely, not until the fall of 2010.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
You are confronting a hard truth: Although Vegas is in many was superior to Final Cut Pro, FCP completely dominates the editing industry (albeit shared with Avid.) If you look at the “editor wanted” posts, 99% require FCP expertise. So if you want to make a living as a freelancer working for others, your best bet is to learn FCP.
Vegas is a terrific solution for those who use it for their own projects. A very small handful of editors manage to make a living working for others.
This topic comes up from time to time and I never see any convincing proof that Vegas cuts it commercially. Just protestations that it does. As far as I can tell there is NO list of great films cut with Vegas.
If you are serious about freelancing as an editor, you are probably stuck with buying a very expensive Mac. As for FCP, start with the prosumer version, which costs around $200. However, for real gigs, you will need the full-up version.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
Mark, it may well be that you wouldn’t know what to do with a full truck of lighting gear. But you’d figure it out pretty quickly. In the mean time, you can make many different notes with even one instrument. Haiku is great.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
Mark, your post is right to the point for people working on zero budgets.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
Are you using Boot Camp on your Mac to run Windows? I do just that with a MacBrookPro and run Vegas Pro 8 with no trouble at all. Sorry, that’s all the “help” I can give you.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
One solution: incorporate single 4′ or 8′ kino flow tubes into the hallway as vertical strips in the shot. If you have the luxury of set design, have them construct small vertical shields to make the flos look like lighting fixtures. Space them out left – right – left etc. so that the actors are lit unevenly as they progress down the hall. Or, put them lined up evenly left and right. Depends on what look you want.
Another: incorporate single 8′ kino flos as part of the edging, where the walls meet the floor.
Another: if the ceiling can be lifted up, slide those same tubes alternatively left and right; camera has to be high enough to never see the ceiling. Or, mount small fresnel units; let the actors get a bit hot at the closest points; spread them out so that the actors almost disappear into darkness inbetween for just a step or so.
Another, somewhat already suggested: have the actor(s) carry a light source. Even flashlights swinging around.
Another: build a false floor with strips of plexiglass and run kinos underneath. The plex could be at the edges, or down the center.
Another: attach battery-operated sconces to the wall.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
In that little box upper right of your page titled, “Search,” type in: stock footage. Hit the search button, and you have the posts with the answers.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
By “continuous light” I guess you mean a tungsten kit with fresnel lights. You can make a fresnel light into a soft light by placing diffusion such as 1/2 or full grid out in front, or else by placing a chimera on the light. You can never make a flo light into a fresnel light. Fluorescents are soft light tubes and cannot be focused.
For interviews, so much depends on the style you like. My personal preference would be to have a soft key, a piece of 4×4 foamcore to bounce the key into the fill side to taste, and a second soft light for a back light. For my 3rd light I’d like a fresnel light to put a splash of “sunlight” on the chest of the subject, when it’s appropriate. Then I’d like 2-3 more lights, at least one of which would be fresnel, to handle the background.
Bottom line: I could work with either a complete set of fluorescents such as Kino Flos, plus 2 650 or 1K fresnel units, or else all fresnel tungsten units with some diffusion as needed.
If expense were no issue, I’d have a complete daylight set of lights, including some 1200 HMIs fresnels, some kinos bulbed daylight, etc. and some jokers. Why? Because 90% of interviews seem to be in rooms with daylight and/or existing cool-white fluorescents. If all I could afford was tungsten, I’d be sure to have plenty of 1/2 CTB gels. I’d also have minus-green and plus green to balance to green spikes in existing lights. See my post about the blue-red axis and the magenta-green axis on the thread, “a little bit of green.”
And if any of the above is too expensive, start with just a flexfill to bounce some existing light into the eyes. If you look carefully at the location, you can almost always find a way to shoot with existing light plus some bounce. If you look carefully, you can also usually find a better available-light location in or near the same place, though then you have to be able to persuade your interviewee to move to that location.
Rick Wise
director of photography
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
Oakland, CA
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
The skin will like “red crabs” ONLY if most of the face is lit with such a warm light. Rather than CTO, you might go with a real red. Just make sure the units hitting skin are raking from the back and not too frontal. Also, red gel chews up lots and lots of light. You are best off using the largest lighting unit you can. You can always scrim down a hot light, but you can never boost up a weak one.
Go for the gusto and enjoy the ride! I think it’s time to stop worrying and go out and do it!
Good shooting!
Rick Wise
director of photography
and part-time instructor lighting and camera
grad school, SF Academy of Art Univeristy/Motion Picture and Film
Oakland, CA
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com