Filed under: Cameras •Production •

RED on location: Art Adams shoots a spec spot

7:41pm: This free-floating lens allows a soft, vignetted, tilt-and-shift look.

7:45pm: Tim and Adam start schlepping the data off the RED Drive onto multiple FireWire drives, and we break for dinner.  (photo: Simon Sommerfeld)

8:52pm: Art and Jono set up a shot of a ceiling fixture while Bob watches. Bob will be casting shadows on the ceiling, hence the downlight into a bit of foam core in the next room.

9:12pm: Lining up a shot of an antique camera.

9:13pm: A single Kino Flo is all Art needs.

9:13pm: The shallow depth-of-field of the 35mm-sized sensor helps focus attention.

9:34pm: Clips are being saved to two drives for Art, as well as a G-RAID for backup. Both Adam and Tim are keeping copies on their MacBook Pros, too.

10:02pm: Jono checks for lighting and composition...

10:02pm: ...as Simon adjusts flags and nets to shape the light on the art card.

10:02pm: It’s the art card that actually lights the shot, and is reflected in the wooden cabinet.

10:32pm: Gracie, the House Dog, has had enough!

Lighting Advice for Budding DPs

Art Adams | 11/21- 08:15 AM

Wherein I realize I’m finally wise enough to give lighting advice to others

Not long ago a student asked me a question that on its surface seemed very simple: “How do DPs approach lighting a set?”

Green/Magenta?

Adam Wilt | 11/18- 10:19 PM

Testing RED ONE for green/magenta sensitivity, and what we found.

Art Adams and I have observed here on PVC that the RED ONE seems unusually sensitive to green and…

RED ONE: Obsolete Already?

Adam Wilt | 11/16- 11:54 PM

Where does the current RED hubbub leave the RED ONE?

With last Thursday’s epic announcement…

Great stuff. It’s good to see red heads still on location!

Posted by David Hudson  on  04/30  at  10:50 AM

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“I was a bit confused by the finger resting on the drive to avoid some sort of loss of data?”

This music box uses punched metal disks to play music; the disks rotate, and the disk’s fingers (created by punching out three sides of a hole and bending the “chad” down along its fourth side) pluck the tines of the sound-generating comb. The comb is mounted solidly to the cabinet which resonates to the vibrations, generating a rich, warm, and complex sound.

The disk is driven by a sprocket, which engages a track of holes along the outer rim of the disk. The disk can flex, and sometimes rises up on the sprocket teeth, allowing the teeth to jump the track. The resulting “loss of data” is that the disk stops rotating, and the music stops! Had you heard the incredibly lush sound coming from this box, you’d understand that it would be a serious loss indeed. As it is, I’m very sorry this shoot was MOS; I’d love to have tried capturing the music in all its glory.

Craig simply used a bit of finger pressure along the top of the track to keep the disk’s edge from rising up.  While we were shooting MOS, Art was capturing the turning of the disk, so having it proceed smoothly and without interruption was important.

Posted by Adam Wilt  on  04/30  at  05:13 PM

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“they take the wrong exit from highway 24 to 580, headed into downtown Oakland.... Simon has not been heard from since…”

HEY! I’M HANGING OUT ON THE CORNER OF 18TH AND… WELL, I’M NOT SURE WHERE EXACTLY.... BUT ARE YOU GUYS STILL COMING TO PICK ME UP???

SOMEHOW OR ANOTHER I ENDED UP WITH AN ULTRAPRIME IN MY POCKET....

SIMON.

Posted by  on  04/30  at  09:23 PM

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