Going to be on Television

[EssexExport]

The series A Crime to Remember on ID Channel (when, I don't know).

[EssexExport]

[EssexExport]

[EssexExport]

[junior]

hey, that's really cool! keep us posted! junior

[EssexExport]

[EssexExport]

[EssexExport]

This will be the bad guy's ride:

[EssexExport]

My Golden Hawk is for the good guys.



Intended for a shoot later that day (I had made good my "escape").

[Commander Eddie]

What fun! Did they pay you the standard rate? How did this come about? Did you sign up on some website making your car available for film/TV, or was it just word of mouth?
When you find out what date it will be showing be sure to let us know.

[StudeRich]

That is very unusual because Photographers HATE White Cars, they usually refuse them completely.
Most TV Show and Movie Producers will only accept Medium or dark Colors because of the reflection. I see they did a lot to reduce it in these shots.

[reichsrundfunk]

Good to see some quality Indiana Iron on show. Damn straight it should be associated with the good guys!
George

[wittsend]

That is very unusual because Photographers HATE White Cars, they usually refuse them completely.
Most TV Show and Movie Producers will only accept Medium or dark Colors because of the reflection. I see they did a lot to reduce it in these shots.

Actually there are two types of reflections. One that reflects light (as noted with white or light color cars) and the other (usually darker cars) that reflect the necessary crew back into the lens. In still photography this is less of a problem because the crew is working from fixed locations. However, in film/video there is often movement, either by the vehicle, or the camera that brings these unwanted reflections at the most inopportune times. In this case the the movement appears to be from the pedestalled mini dolly track. The KinoFlo light and the diffusing silk are primarily to light the subjects in the interior.

[EssexExport]

What fun! Did they pay you the standard rate? How did this come about? Did you sign up on some website making your car available for film/TV, or was it just word of mouth?
When you find out what date it will be showing be sure to let us know.

It was a pretty long day, Ed. About two hours were just milling about, plus they fed you all day. Actual shoot time was not that long, maybe an hour & a half to two hours tops. Figure I arrived around 7:30 that morning & was home around 2:30-3. Got $150 cash.

First time experience for me.

My fiancee e-mailed a link looking for 50s & early 60s cars. Sent an e-mail that Saturday & kept checking my inbox. Rained that Monday & Tuesday. That Tuesday night, got a reply with a phone number. Called & the shoot was for the next day.

[Studedude]

Actually there are two types of reflections. One that reflects light (as noted with white or light color cars) and the other (usually darker cars) that reflect the necessary crew back into the lens. In still photography this is less of a problem because the crew is working from fixed locations. However, in film/video there is often movement, either by the vehicle, or the camera that brings these unwanted reflections at the most inopportune times.

I always wondered why the Mayberry patrol cars had a dull finish. 'Reckon this is why.