andy lee

but it's all copyright theft if you use it without permission - that's why we have copyright laws people on the web seem to forget that ! it's not free - it's someone/s career and livelyhood , how they pay the mortgage - so respest that.

I pluged them in when they arrived and they blew the fuse box on my house!! live wires touching neutral!! unreal so I got new wire are redid them myself

exactly !

this is a good thing as the music industry has been decimated in the past 10 years by internet free downloading. (I have personal experiance of this , budgets have been hugely slashed by record labels as everyone is downloading for free) If you use copyright material you should pay for it and have permission. nuff said. This has happened on Vimeo as the Music Industry is finally reacting and trying to get its house in order 10 years too late. Too many people think the internt is a free for all.

the John Alton book is a classic I first read it 15 years ago and it has all you ever will want to know in it

they are flimsy and I had to rewire them as it was a bit dangerous!! but the do work fine just not quite as robust are the real thing - still makes the same light , takes the same bulbs edit - oh yeah and the stands are very thin/ flimsy too , so you might want to by real stands

Im not sure how many people speak Spanish on this forum......but here you go - Google translate....

well said Dische f2.8 is f2.8 all this comparison to full frame is cog wash .......lets go filming instead.......far more fun!!

Nikon D lenses have a 45 degree focus throw - so people get them re housed like they did for Bourne, Casino Royale and Captain Phillips all used rehoused Nikon D lenses with a longer focal throw True Lens TLS in Leicester UK did the rehousing for Arri Back in 2005 TLS were asked by ARRI Media in Uxbridge to re-design the Nikon 80-200mm/T2.8 that ARRI Munich had originally converted for Oliver Wood for ‘The Bourne Ultimatum’ in order for it to be used by Phil Méheux, B.S.C on the then upcoming 2006 Bond reboot ‘Casino Royale’. Back in 2005 TLS were asked by ARRI Media in Uxbridge to re-design the Nikon 80-200mm/T2.8 that ARRI Munich had originally converted for Oliver Wood for ‘The Bourne Ultimatum’ in order for it to be used by Phil Méheux, B.S.C on the then upcoming 2006 Bond reboot ‘Casino Royale’. here is their Morpheus 80-200mm F2.8 Nikon D rehoused http://www.truelens.co.uk/index.php?webpage=product_detail.php&product_id=484672&cID=52369 also GL Cinemod do some rehoused Tokina f2.8 zooms have a look here http://www.glcinemod.com/english.html

this is what happens when people get obsessed with comparing everything to Full Frame - why bother! They dont shoot Hollywood movies full frame any more Vista Vision died years ago. Super 35mm is King. I don't ever remember when I shot film (16mm and super 35mm ) saying I wonder what the equivilent light levels of this lens is on Vista Vision ? I personally do not like the full frame look at all (yes I've shot alot of pop videos on Canon 5D, I'm just not a fan of it ) Just do the best with what you have got , having a head full of conversions to full frame and now all this extra nonsense that this video has drawn up achieves nothing useful at all. Know how to get the best from your system - that's all that matters.

if you are starting out get a set of 4 Red Heads and a bunch of LEE gels / diffusion for them , and bulldog clips to hold the gels on the lights. you will also need some Lee diffusion too so you can control the intensity of the lights better dont be affraid of layering up your diffusion too , then adding the coloured gels ontop of the diffusion. You can buy gels / Lee diffusion off ebay cheap get a whole bunch of colours and try different set ups to see what you like. ie try Teal and Amber that is used in alot of films now , amber on the face - teal on the back wall etc or vice versa ! I always back light and have a kicker too to help get edge separation. How much key and fill you use from the front is all down to personal taste and how dark or bight you want the subject. there are loads of youtube vids on this and 3 point and 4 point lighting you will end up having lights around until you are happy with the look so dont think you can just bash up some lights and hey presto ! you use your eye to get a desirable look.

maxotics - this weekend I was out filming in the glorious UK sunshine (quite rare!! it usually is raining) I've been using a very good f2.8 constant aperture zoom. The Bourne Lens - the Nikon 28-70mm f2.8 IF-ED, this was used to shoot a large part of THE BOURNE ULTIMATUM its a steller lens - razor sharp very little focus breathing (less than the Carl Zeiss Compact Zoom CZ.2 28-80mm T2.9 which $19,000 lens) I can see why they used this lens for the movie ...it is superb! it covers a big useable range so you can shoot quickly without changing lenses , its fast so bokeh heaven cinematic narrow DOF , also can close focus to about 30cm which is useful . It is heavy so I have made a new Tecoir shoulder rig for it with an Arri matte box. it is constant apperture through out the zoom range. now with a Lens Turbo speedbooster on my G6 it becomes a monster lens approx f1.8 20-50mm So I have been shooting outside at f1.8 in full bright sunlight with staked Tiffen NDs (20) and its looks amazing! I have read about this lens for awhile especially in American Cinematographer Magazine , Paul Greengrass /Barry Ackroyd have used it on the movie Captain Philips too as its small and light.

The Prince of Darkness - Gordon Willis has always been a big influence on me. Klute and All The Presidents Men are 2 of my fave films he shot , He was one of the first to pioneer this darker , more realistic look to lighting. It almost looked like it was all available light , but it was Gordons masterful use of light and film to create these looks. The Godfather series really took this look to the limit , lots of use of shadows. David Fincher is the new Prince of Darkness and owes alot to Gordon for leading the way . Paul Greengrass quotes All the Presidents men as a big Influenece on him too. Eveyone on this forum should study Gordon's work - you will learn alot form him.

the Formatt 1/2 clear Supermist filter is very like Tiffen 1/8 Promist - is more subtle than 1/4 I find Promist 1/4 can be too much in some cases so 1/8 does the job - you can still tell it is there but Promist can look like 1970's soft porn if you do it wrong !! its a very cliched look if its over done. so for me less is more .....

this will be one of the most subjective threads on the forum as everyone sees things in their own way. There is no rules on this as anything goes , there are some techniques that are useful to know , but mostly I do this totally by feel and look.

at last a section on lighting - painting with light is one of my favourite things!

good news - I think I will be on here alot!

only on close ups of girls faces

Formatt make a 1/2 clear Supermist filter it is less harsh than the Tiffen Promist 1/4 I bought 2 last week and they are very good , I have Tiffen Promist 1/4 and 1/2 and the Formatt is of a similar nature bit nicer on skin tones for me give it a try they are not expensive on ebay, I got mine from here http://www.ebay.com/itm/NEW-FORMATT-72mm-1-2-Clear-Supermist-Camera-Filter-BF72HCLRSU-/181412489104?pt=Camera_Filters&hash=item2a3d06e790

The G6 is superb little camera I shoot Natural -3 , 0 -3 ,0 or Natural -5, 0 -5, 0 (which I have stored as a custom setting , its a flatter profile and gets better blacks less contrast) and I get good skin tones , I dont ever shoot Portrait as it crushes the blacks and colours too much All Panny cameras seem to have a colour shift when you hit the record button , it has never bothered me

The Olympus OM10 is a 1970's / 1980's 35mm SLR film camera (Iused to have one in my teens) It has a split focusing screen so when your object is out of focus the middle will look darker (in poor light ) or blurry as you hit focus the top and bottom of the split focusing screen will allign and be as one when you have focus. All this is going on via the mirror/ prism / split focusing screen it does not effect the image that goes to your film in the camera as soon as you hit the shutter button the mirror goes up as the shot is taken. This forum is about Digital Cinematography ...ie no film in the camera you might be best on a 35mm film camera forum if you want more advise.

Yashica ML primes are some of the most sought-after vintage manual focus lenses. widely regarded as Carl Zeiss Distagon Equivilants the Yashica ML prime lenses are superb for Cinematography. The ML series was the pro line of Multicoated lenses developed and produced by Yashica (Kyocera), to sit between their consumer grade DSB line and the state-of-the-art Zeiss T* within the Contax / Yashica system. According to 'Lens Doctor' Eddie Houston, these lenses were the 'L-series of the era' Being 35mm format lenses, they cover Full Frame (Canon 5D, 1D, 6D etc.) They perform extremely well even at wide open aperture when used on a 'crop frame' system. they are great on Full Frame, APSC and Micro 4/3 180+ degree focus throw allows for accurate control - ideal for cinematography use with a Follow Focus kit.

I have 2 sets!!

I have 2 sets

there is a reason why Directors like Tony Scott sat on the end of long lenses for most of their films. he liked that look ! Scott's Taking of Pelham 1-2-3 remake was shot with only 2 types of lenses Panavision [Primo] zoom lenses, 3:1 [135-420mm T2.8] and 11:1 [24-275mm T2.8], http://www.theasc.com/ac_magazine/July2009/TheTakingofPelham123/page1.php there is some crazy drop off bokeh on some of the shots in that film ....have a look... he also used 2x extenders on those lenses - he lost a stop but gained mega drop off by doing that then on the other hand you have Directors like David Fincher who uses mainly a 27mm lens of most of this films for the past 15 + years.. with Harris Savides, Darius Khondji and Jeff Cronenwerth , different DPs same 27mm lens used. another different look ....another different style .....