Todd Mcmullen
Forum Replies Created
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Sorry for not providing more info.
Yes I am on a mac with FCP v5.1.4
And I am using the FCP p2 import window.
thanks Barry
Todd McMullen
Flip Flop Films
Austin
http://www.toddmcmullen.com -
Adam,
Extremely general question. What do you ultimately want it to look like.
You are shooting daylight film so you shouldn’t need any color correction filter.
Plus you can correct or add color, or not, later. Whatever you do don’t over think your filter situation or your sunset will sink fast. I would just shoot without any filter and have an HMI standing by for any close ups or coverage you don’t get in your “magic hour”.I use tungsten film with an 81ef for these situations, but I like to have a bluer-grey look.
cheers
Todd McMullen
Flip Flop Films
Austin
http://www.toddmcmullen.com -
They are usually referred to as a grip single or a grip double. The single usually has a green border and the double has a red border. The Single is usually one stop and the double is 2 stops. Hence the terminology.
The smaller open ended versions, shaped like flags, are indespensible in a grip kit. The larger units, come in a 4×4, 6×6, 8×8, 12×12 and larger. these larger units would be good on a rental basis as you need larger stands and more hands to work with them.
Make sure you have enough of a throw between your subject and your net or you will see it.
cheers
Todd McMullen
Flip Flop Films
Austin
http://www.toddmcmullen.com -
well, there lies the rub…
If you don’t have time for actual testing and practice of lighting, then I am positive a book or a dvd will not sharpen your focus for steping up your knowledge of lighting with any expedious results.
Understanding the art of lighting takes experimentation and practice. As well as understanding camera blocking and camera angles.
So with that in mind, I would concentrate on setting up scenes with a camera and a few actors and block it and then light it. Do this a few different ways and you will understand lighting more than seeing a diagram in a book and trying to replicate it on a real shoot.
If this scenario is not part of your vocabulary then I would focus on magazines like American Cinematographer, international camera guild, etc.. these can give you examples of how other people have shot and lit scenes.
Todd McMullen
Flip Flop Films
Austin
http://www.toddmcmullen.com -
Funny you bring up this lighting tool. Just the other day we were shooting in a bar and the characters made a spontaneous reference to a John wayne picture on the wall. I knew my camera operators would tilt up to see it, and I knew it would be dark, so I quickly asked my 2nd ac for her flashlight and I hit the picture with her surefire. It worked perfectly and we didn’t have to get an insert. the magic of un-motivated lighting.
Todd McMullen
Flip Flop Films
Austin
http://www.toddmcmullen.com -
check with hydroflex in marina del rey ca. They are the pioneers in water housing. but they may have a low cost solution.
cheers
Todd McMullen
Flip Flop Films
Austin
http://www.toddmcmullen.com -
surfNC,
just goofing with ya.
It would be helpful if you could be more specific. If you just need to shoot a shot partially under water then i think you could use a large fish tank. but if you are going truly under water, maybe for some surf footage , then you need full on protection. Google it.
helpful is as helpful does.
Todd McMullen
Flip Flop Films
Austin
http://www.toddmcmullen.com -
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Well,
Not sure. I can only speak for our situation. I beleive there is no reason to shoot 35mm for a Tv release. Super 16 is a perfect fit for HD Delivery. And yes new film stocks are fantastic. I would say that it is a budget-to-performance factor for shooting 16mm. We go for the doc style so gloss is not part of the equation.
And I am positive our craft service budget is minimal. And for size. You cannot beat a 16mm camera with on-board battery, modulus wireless, zoom lens with zoom control on right hand grip. This camera setup can get into any situation. Completely free of cables.
I firmly believe that if you have good lighting, good camera angles, and good locations then you can make a cell phone camera look great. But for now I am honored to be shooting 16mm film.
And to answer Bobby’s question, I think most all film labs will work with you to make it happen. I think you will find that the difference in Film VS HD can be equal.
j
Todd McMullen
Flip Flop Films
Austin
http://www.toddmcmullen.com -
Bobby,
Film prices have not dropped and as a matter of fact the price for an HD package from a rental house such as Panavision or Clairmont is as much or more as a film package. So your costs will come down to post.
The way to look at this is what is needed for your specific project and what are the delivery requirements. Is it narrative drama, do you shoot in controlled environments, is it just a talking head, does the producer want film, is there lots of visual effects, is it for a cable access channel.etc.
I shoot a 1 hour drama series for NBC and there is no way we could shoot HD. So we shoot 16mm. 3 cameras roll on almost every scene. We shoot loads of film. And no one has a problem with that. As a matter of fact, I beleive that NBC is requiring most, if not all its 1 hour drama shows to shoot 16mm this season. 16mm is a perfect format for television delivery. I remember working on a vsfx unit for a movie that was shot with the Panavision Genesis. Great camera, very film friendly. But, the cables and the monitoring package that came with it was larger than the Grateful Deads wall of sound.
The bottom line is you get what you pay for and you should pay for what you need. And their are producers all over the world who have pursued one format over the other and have found that production costs usually remain the same whether, film or HD.
Todd McMullen
Flip Flop Films
Austin
http://www.toddmcmullen.com