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Showing content with the highest reputation on 07/03/20 in all areas

  1. 1 point
    hmm the VPN approach could be worth trying! These trailers are interesting in their own right so I can try to study them as well :) Something in the resembles old propaganda films which makes them interesting even when the editing seemed to be quite bad (or even for just that reason :D ) There may be some fundamental differences between countries on what is considered objective enough to fall in to the "documentary" category and at what point it becomes too biased so that it starts to resemble plain propaganda or ads more than something which we northern europeans would call a "real documentary" (that would be something that tries to show both sides of the story in as objective way as possible even if the filmmaker disagrees with some of the opinions. NOT in the way that "Trump Card" trailers does, cutting pieces from here and there which fit the filmmaker's and his supporters own agenda and tries to make the opposite to look as bad as possible)
  2. 1 point
    The individual levels of the red, green, and blue channels after deBayering the sensor's raw signal is what determines color temperature. If you record raw video, then color temperature set on the camera is just stored as metadata to be applied to any conversion to RGB (like the live conversion done so you can see an image in the camera's viewfinder.) In post, the color temperature setting is applied during debayering to RGB. But if you record any sort of in-camera conversion to RGB, whether in log gamma or Rec.709 gamma (display contrast and color), then the color temperature is baked into the recording so it would involve additional post color-correction to change things. The more you bake in color and contrast closer to a display image, the better it is to get it right in camera because you have less information in post to work with. As for whether to set the camera to 3200K and use an 85 filter in daylight, I don't recommend it -- a camera sensor has a native balance closer to daylight (it is less sensitive to blue wavelengths so prefers an image with more blue). So when you set the camera to 3200K, it is basically pushing the blue channel to compensate for underexposure in that color, making that channel noisier. You don't have much choice in 3200K lighting (other than to use a blue filter on the camera but then you have to use a lot more light) but there is no advantage to leaving the camera at 3200K in daylight (unless you want a blue image in daylight, and even then, a blue filter would be better.)
  3. 1 point
    For low budget and indie stuff it may be better to get couple of good light stands and couple of decent size reflectors to control light. The main problem tends to be that there is enough light but it is of wrong quality and from wrong direction or is just too harsh. I like to use couple of foldable Lastolite style knockoffs which have changeable silver, white, black and diffusion surfaces. They are handy on small shoots. Can also use styrofoam with one white on other side and black on other and the other having silver on other side and white on other. You can do these by yourself for couple of bucks if needed. You may want to have one led light which is easy to adjust and is about 40 to 100w range. I like to use daylight led for more output and just gel it down if needed. You will lose light with adjustable leds because they are rarely used on colour temp setting where all leds are on full power. Probably you would like to have another light which has lots of output. I would personally use something on 1kw range tungsten for that type of shoot. It can be controlled with the aforementioned reflectors to get the light look nice without making too artificial classic tv interview look (unless you really want to make it look like that) I personally like to use 2 light setups and control it in other ways like flags and reflectors to make the output look nice. I think the worst thing one can do is to purchase 3 similar lights like a redhead style kit with similar stands and everything
  4. 1 point
    By my understanding, you are making a one-off, non-commercial, just for fun production right? If this is the case I don't really advice you to go any buy any of the stuff you mentioned. It would be a few thousand dollars, and unless you are making money off of it, it's not worth it. In this case I would recommend you simply go ahead and rent, it might seem like spending few hundred per day is expensive, but it's actually very affordable for the quality you are getting. You can rent on weekends and only pay for one day, or rent for whole weeks and paying for 3 day/week. I don't really know where to go as I live in Europe, manye someone based in states can help. Bt in any case, 1080p is more than enough , and 60p is nice for some slow-mo. Wouldn't recommend get anything more than that. If you do plan to shoot for many days (for more than 10 days) or plan to do multiple projects in future, then I would recommend you look into a company called Aputure for lights, their lights are very high quality and affordable (they are also coming out with a full RGB panel mid 2020). And stay away from Tungstens, they are old tech and suck a ton of power, it's easy to trip a breaker with them unless you know what you are doing. One exception is to buy used tungsten from rental houses, they're moving onto LEDs and are selling off their old Tungstens for pennies (like a 650w for $100), tungstens are built like tanks so age doesn't matter. One thing I would recommend you to buy is a good on camera monitor, it's the only thing many DPs own now days, as you can always rely on your monitor. You generally learn your monitor better with time and it really speeds up your workflow. Something like the small HD 702 or focus 5. You can find used ones for cheaper, but their prices have came down a lot now days. One last tip is to go a talk to your local camera rental houses, they can offer you deals on used gear. Finding a good one can go a long way when it come to renting.They also can teach you how to pick out a kit - lesson that are way too long for a forum post. They are is most cases very friendly, even if you don't seem high value to them - find a new one right away if they hostile to you because you aren't high value. Anyways, welcome to the forum and feel free to post any questions you have. But always search if it has been posted before you ask. Many questions have already been answered. Here's a few links that might help:
  5. 1 point
    The lightest is the #1/2 (though there is a rarer #1/4 that they made later). It is pretty subtle, has the least halation of any diffusion filter. I just used it the other day to shoot a scene where the camera is passing along a row of light bulbs in the frame and our normal Hollywood Black Magic filter was creating a too-dramatic halation. Technically an UltraCon filter is not true diffusion though anything that lowers contrast by scattering light will also soften a little. Go to 7:44 here:
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