2007.08.21: "Dinx" Set Stills day 01

Director: Trevor Anderson

1st Camera Assist: Julie Phillips Julie also happens to be a model and we'll hopefully be shooting together sometime soon. There are more flattering photos of Julie but I was going to create a poll to allow you to vote for the cutest camera assist but there is no poll function in my blog (so far we have Bill and Julie). I'd vote Bill.

Producer (left): William Minsky, Assistant Director (centre): Mark, and Writer/Director

Crystal (Centre)

Bubbles . . . and other somewhat homosexual stuff. Heheh.

Director of Photography: Wes Doyle

Camera: Arriflex SR3. From what I can tell, this camera shoots onto Super16 film, is equipped with timecode, and has provisions for realtime digital remote monitoring of what is being filmed. I believe that this remote monitoring is made possible by transferring every alternating frame digitally to another screen when the camera is rolling which would explain why the external monitor flickers only when it is recording but I could be wrong.

Edit: "Sort of. Any current film cameras (as in, ones with true reflex viewfinders) work a lot like SLR's. Except they do what SLR's do 48 (or 24, I guess it depends on how you look at it) times a second. It's a rotating mirror (that is 180 degrees). When the mirror is down, it relfects the light that goes through the lens to the film. When the mirror is up, it reflects it to the operator. If there is a "video tap" installed, half of that (or 30 percent, or less or more, depending on the tap) goes to a video camera, that then displays it on a video monitor.

So it's not really every second frame, it's the half of the 48th of a second (because a film camera running at 24 frames has a shutter speed of 48th of a second) that the film doesn't see." - Felix of Burnaby, BC

The script called for a few shots of the stage with three actors playing male strippers.

I posted this photo to show how some light is being distributed in the background of the shot. Wes equipped with a Source Four SR ellipsoidal spot lamp with a Joker HMI (halide metal induction, daylight balanced) light source in lieu of the typical 500-1000W tungsten halogen lamp. This ellipsoidal spot lamp allowed for precise control of the area of illumination by the way of focusing, zooming (in some models) and shutters. Metal gobos could also be used to cast shadows as was done in a shoot that I used such a lamp for. In this case, a relatively large light source could be created with a small profile by projecting a beam of light from a different part of the set into the scene where a stand with a reflector or diffuser may be placed. This photo also shows a bunch of Arri tungsten Fresnel lamps which were used.

Our Protagonist: Farren Timoteo (Right) . . . and that's not jizz on his red shorts . . . just light from an interesting gobo in a leko.

This photo gives you an idea of the big picture . . . lighting on stage provided mostly by stage lights, series of Fresnel's and light bounced from the Joker-equipped Source 4 as a colder rim light. Photos were contrasted and curves were distorted significantly to cut through the haze. Hahah . . . no one lights a night club quite like a director of photography can.