Feature shot in 15 days with HVX

Kholi said:
Would love to see this scene edited. Please, keep us updated, Darwin. I specifically want to see how that specific shot where the focus pulls between the two while delivering plays out.
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You'll have to find that elsewhere. I'm not editing it and I just wiped the third drive that we used as a backup. I have only one days' worth of stuff available to me now. And quite frankly, I'm not all that interested in cutting anything together. Sorry. I was not a big fan of the script. And yes, the director knew it. Thanks for your interest though. I appreciate it.

EDIT: I do have some outdoor stuff that I might try to put up in the next week or so --- if I have the time.
 
Thanks for the info darwinandpaine, very useful.

I'd like to hear more about what you thought of the flolight. It's durability, portability, etc. And how it compared to the caselite (caselite2 or caselite4?).

Now that you shot this how would you change the light package on any future shoot using a HVX/M2.

Pete
 
I absolutely LOVE the Flolight. I think it's very well-made. We had all our stuff in one truck (Wardrobe, Grip, Electric, etc...), and everything was getting a bit trashed. But the flolight held up. I did buy their case that they now sell for it, and with the diffuser and honeycomb in the front of the light, the bulbs are pretty well-protected.

The light from it is great --- soft and even. It really looks like some nice ambient light coming from a window. I have only two gripes. First, I hate the power cord. It's too short and doesn't have a switch on it. So you always have to have a stinger handy, and if you put the light up high, you'll have to lower the light to turn it (or any other the three switches) off and on. Second, the actual mount is kinda cheesy. Not awful, just a bit cheezy.

It compares favorable with the Caselight 4. It is almost twice as bright, which is great, and set-up is actually even quicker. But, the Caselite is the ultimate in portability.

As far as the lighting package, I was very happy with what we had. I never felt like we didn't have enough light, until the Alzo 2000 went down (on day 7 we had a power outage that either blew the light, or the bulbs --- it's hard to tell. I'll know when I get the new bulbs this week). I think for bringing up the overall light level in a room, there's nothing better for the price than that big Alzo. But remember, it's a bit noisey, so keep that in mind.

I don't personally own the big HMIs we had, and I'd love to get something like that, or perhaps a 2000w fresnel to put outside a window and shoot some hard light in. The florescents don't do anything like a light with a lens.
 
Just wanted to say that (and I feel like an idiot typing this, but...) the ghosting issue was indeed caused by the UV filter on the M2. I didn't even realize that was a simple UV filter --- I thought it was some essential piece of glass protecting the housing. But after taking the filter off this weekend and doing some tests, it became apparent that the filter was the problem. All I can say is, "D'oh!!!"

Big thanks to Lenilenapi.
 
Hi Brian....I think B.Valente has to make a sticky. Kind of wrong design on that filter...
May I ask you something more, after your interesting report?

How was the signal on the Director's monitor (looped from the Marshall)? I'll have a job where I'll be Cameraman and not DP. I'm asking myself if I can share a Marshall with my AC, and loop from there a reliable feed for the DP


You talked about 3-4k for interiors. What was iris on the HVX?
As you, I do love the M2 and now it's very hard to take it apart. Two month ago I DP'ed a full feature movie with my DVX, all and only exteriors and on a sunny Sardinia. I had the chance to always leave 5.6 on camera and eventually add external ND besides polarizer and internal ND... And I could still close till 8 on Nikons if I needed just pulling out NDs.

Best regards.
Alvise
 
Alvise Tedesco said:
Hi Brian....I think B.Valente has to make a sticky. Kind of wrong design on that filter...
May I ask you something more, after your interesting report?

How was the signal on the Director's monitor (looped from the Marshall)? I'll have a job where I'll be Cameraman and not DP. I'm asking myself if I can share a Marshall with my AC, and loop from there a reliable feed for the DP


You talked about 3-4k for interiors. What was iris on the HVX?
As you, I do love the M2 and now it's very hard to take it apart. Two month ago I DP'ed a full feature movie with my DVX, all and only exteriors and on a sunny Sardinia.
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Yes, we looped from the Marshall to the Sony and it looks okay. I always had the director look at the Marshall for accurate color and stuff because the signal is definitely degraded along the way.

For the interiors, I rarely got beyond f4 with the 1400w Flolight, 800w Caselight, and 800w Scandle (3000w total). Every now and then, if we were tighter, I could get to an f5.6, but rarely. And this is with the HVX Iris wide open. The DVX is much more sensative than the HVX, so your experience makes perfect sense.
 
darwinandpaine,

It's been really interesting reading about your experiences with the HVX albeit a few months later. Can you tell me what tripod and head you used for the shoot and also whether you used any steadicam?

Cheers,

Al.
 
Al McGibbon said:
Can you tell me what tripod and head you used for the shoot and also whether you used any steadicam?
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I used the Bogen 516. I'm really happy with it. And no, we didn't use any steadicam.
 
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