[William Kamp]

Yup, there is now a plug-in for that. Download it here:

https://www.sonycreativesoftware.com/plad-rw1

Then make sure to put it into a common area that all adobe applications can read it by doing the following:

Find the Premiere Pro CS6 application in your Applications folder then right-click on it and choose “Show Package Contents”. Then navigate inside the application to “Contents/Plug-Ins/Common/” and move the ImporterF65RAW.bundle file into to “/Library/Application Support/Adobe/Common/Plug-ins/CS6/MediaCore/” (this is the Library folder at the root of your boot drive, this is NOT the Library folder located in your user Home folder)

In other words move
“/Applications/Adobe Premiere Pro CS6/Adobe Premiere Pro CS6.app/Contents/Plug-Ins/Common/ImporterF65RAW.bundle”
to
“/Library/Application Support/Adobe/Common/Plug-ins/CS6/MediaCore/ImporterF65RAW.bundle“

[William Kamp]

Exactly the type of advice I was looking for.

Thank you.

[William Kamp]

I apologize for the mudslinging. I would aslo like to point out my rant was based on little information, and never intended as fact.

I’m sorry Bill.

I feel like we just left kindergarten and can go have recess now.

Best,

Will

[William Kamp]

Thank you very much Tom. This is the sorta response I was looking for! I couldn’t find it in a google search because I wasn’t sure how to look.

Thanks so much.

If anyone else has suggestions, please, let me know.

Also I concur, that’s all I was looking for from the beginning. I would like to repeal any disrespectful remarks.

[William Kamp]

Is this THE WILLIAM DAVIS from QuantumLeap Productions in Arizona?!?!?! I noticed you still havent upgraded from that Apple G3 and Final Cut 1.0. What sort of articles are you writing over there at VideoMaker Magazine? How to export XML’s from FCP 7 compatible with FCP 1.0? Wait, you’re explaining the razor tool arent you? The internet is better for your masturbatory rhetoric and you should continue to sit back in your ivory tower and revel in all the experience you are not willing to share with the less fortunate.

In other news… I would like to say I am sorry for my outburst of anger as I’ve never been so attacked for a simple question….

I hope that there are others out there that may have suggestions… my biggest question is still what are those spreaders called that aren’t permanent. I’ve used them on sets, seen them in lighting breakdowns… but cannot remember their name! hahaha. Any help with all this would be appreciated.

Will

[William Kamp]

I’d use some duvetine and some c-stands outside the window to block off the light streams hitting the window. Then I would continue using the fluorescents, but put a little color back in his face by adding a 1/4 or 1/2 CTO in front to warm only his face up a bit. Keep the rest of the room in the white Daytime balanced look. You’re best looking stuff is the bottom two (other than the weird shadows on the window) The top one is to orange and looks like you lit it at night.

Hope this helps? Good luck on your shoots!

Best,
Will

[William Kamp]

I worked on Mark Harmon, Snoop Dogg, the USC int and then the ESPN guys stationed here in LA. Did you watch the show? I thought it was pretty good!

Will

[William Kamp]

Jerry,

Lowel is a little weak for the necessities here. I always like the idea of being able to put Scrims or nets in front of lights to weaken them. Lowell’s have an application, but I just dont think its here.

Maybe I am wrong, Ha, its happened before. What does everyone else think?

[William Kamp]

First. I’m not entirely sure how to respond to Bill. I suppose that yes, you do become an “expert” in whatever field you are in after many many years of doing that particular position and positions relating to it within the department or field. However, I also subscribe to the view that experience does not breed talent, and talent is something that I do possess (I’ll play the ego stroking game. Ha.) With these two views, I am aiming to gain experience for my talent by doing something I believe you too still do Bill, and that is asking questions to this very day… In the field and on forums such as this great one.

Now, maybe I am confused as to what a DP does. Both yours and Tom’s have given me an identity crisis (Joke :D) Hahaha. Anyway, I have a crew, 3 cameramen, Key Grip, Lead Gaff…. But I am the DP, they are apart of my crew, shouldnt I first have an overall idea of how I’m going to light the room? Shouldnt I pick the equipment used? Isnt that why my title has “Director” in front of it and they are apart of “my” crew? Or Am I being too micromanaging and should only worry about general look and not fuddle with equipment? I thought a DP painted with light, picked the lights, gels, and a Gaffer just worried about actually putting up the lights. I thought the DP had to have an idea of whether or not he could even put lights in that location under the circumstances of the shoot?

Tom you are correct, this is a “free” set, sizzle reel, but I know that this set gets me my next job, and I am sinking some of my own money in this because, if nothing else, it is a reel builder where I dont have to pay any crew and I get to show my talents, so why not pay for some of the equipment I want to use?

Anyway I would appreciate your opinion on both you’re views of a Cinematographer and how I should light this room.

Much Appreciated and Humbly Yours

Will

P.S. Tom, Did you work on Year of the Quarterback Kick-off special? I worked on there as an AC/Cam Op as well. You’re name sounds familiar and I know we filmed Elway for the show.

[William Kamp]

Thank you so much to both of you. I ended up shooting in 24p and then delivering to ESPN in 59.94. It worked out beautifully, and turned out the way we all wanted, much to the thanks of your answers.

I hope the new year is well.

Will