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  1. 4 points
    In general I would describe it as lockdown-specific production, based on the need to shoot something without, you know, meeting anyone. This made extensive use of close-up lenses as the Sirui 50mm doesn't focus nearly close enough to do most of this without. I presumably owe some sort of swear box a donation on the basis of shooting an arty macro of a plant.
  2. 2 points
    It's an effect that you can see when you shoot, however, it is not absolute -- if a long-lens close-up is tight enough and sharp/contrasty, then it does not necessarily feel distanced. But for medium shots, you do sense whether the camera was closer or farther away even though the subject size might be the same.
  3. 2 points
    I mean, there are times when you have to shoot night for day on location, so the only thing you can do is cover the windows with 1000H tracing paper and blast them with backlight. Otherwise, I'd usually prefer to see at least a hint of texture outside or in the sheers, even if it is very overexposed.
  4. 2 points
    The fact you didn't notice it ,is the skill.. 🙂
  5. 2 points
    2-perf crops the corners so you'd see less vignetting or portholing, maybe a little less barrel distortion... as for whether lenses wider than 15mm are too distorted, that depends on your taste and the lens, there are rectilinear lenses like the 8mm Zeiss Master Prime which have no barrel distortion.
  6. 1 point
    Have a great time with the movie! Share your experience when you're done!
  7. 1 point
    Professional half-silvered mirrors are expensive. The 50/50 has to be spot on, and you don't want a color cast. Also the film you mention is likely to add distortion to the reflected image. Those, and other, problems will be 'baked in' into your image if you're using one camera. A cheap alternative is the type of mirror used in teleprompters. That second conventional mirror will have to be front silvered. Be aware of polarising issues. You're going to have mega problems with adjusting your mirrors to get a decent line-up, and this rig will get knocked and need readjustment every time you move the camera. You'll need to get the 3D perfect each time you shoot as you won't be able to adjust it in post. Do you not plan to adjust the inter-axial separation of the cameras? You'll quickly discover that you need to. Gels. Use gel not colored plastic. The tolerances are much better. You really don't want cross-talk. Rosco are excellent. Get a swatch book and experiment before you commit. Looks like your setup needs a relatively long lens, and 3D doesn't work too well with long lenses. I think you're better off with 2 cameras... I put together a rading list here. http://bit.ly/S3DReadingList The SKY link is a good start. I'm surprised it's still there! Good luck 😋
  8. 1 point
    @Daniel O'Flaherty My pleasure! The downside to Red cameras are their poor performance in low light compared to cameras of the similar price range (excluding the Gemini's dual ISO). This is simply because so many photosites are packed into the sensor to reach the resolutions their known for. However, if the Helium is all that you have available, then push it to 2000 ISO. You'll have to make it clear to your director and producers that there will need to be denoising in post. Luckily, denoising is fantastic today with programs like "Neat Video". I cranked up the ISO on a Dragon sensor to 3200 and was able to save the footage with Neat Video. You couldn't tell the difference between base ISO and the cranked ISO. HMI's are actually quite hot; they tend to melt gels faster than tungsten. Hell, I even cracked a mirror with an M18 one time after it was shooting through it for an hour. Needless to say, if heat is an issue at all you'd better go with LED. Lens wise, all of the options you listed will be fine. You're shooting at a pretty deep stop; even the cheapest of lenses will look good when you're shooting at T11. 🙂
  9. 1 point
    I think it's commonly known. It's quite easy to see and feel. I remember watching a behind the scenes interview of Roger Deakins explaining why he sometimes shoots mid-close ups on a wider lens with the Coen brothers. He explained the same premise as what David said, you have a sense of presence. For an example when I look through a telescope or binoculars at a passing ship or plane I don't feel as if I am closer to it by doing so, I feel as if I'm observing it. Even though it is enlarged it doesn't feel closer so to speak. Compare that to shots in the Revenant where Leonardo DiCaprio is cm's away from the lens, it's the exact opposite. Those are extreme examples, you can gain the same effect by shooting on a 28 instead of a 35 or the reverse for the opposite effect!
  10. 1 point
    Personally I wouldn't shoot at f16.. you have the risk of lens refraction .. and getting a "soft" focus look.. re flicker .. I think the only really safe answer is to shoot a test and play back.. any professional LED light like the sky panel you shouldn't have any problem at 120fps.. Ive done this with Astra,s and totally fine ..
  11. 1 point
    Mole Shutters! Love them, but they’re expensive and hard to find if you’re not in LA. There is a DMX version available. As Miguel says, Skypanels work well for this effect on interiors, although the manual Mole Shutters give you more freedom if you want a specific timing. Personally, I found the ‘Paparazzi’ setting look the most convincing due to the slower decay. Maybe you can program them, but I don’t know how. On big exteriors like you’re describing, you’d probably use something like Lightning Strikes: http://www.luminyscorp.com/index.php/lightning-strikes-2/ Not exactly a budget option though.
  12. 1 point
    I started to modify my new Leicina S to real Crystal Sync as soon as it arrived today. There seems to be a demand for sync sound Dual 8 cameras so the update, when ready, will become available for order one way or another. I will do a lot of prototyping and testing in the following months and will post the results here 🙂 The first stage was to disassemble the motor side of the camera to see what the possibilities are to attach a speed sensor to the original motor and how much there will be space available for the circuit boards. I also calculated the reference frequencies needed and did some drafting. The next stage will be to manufacture a custom speed sensor assembly for the motor and then hook it up to my existing Crystal motor controller prototype and start to run sync tests. I can already say at this stage that this WILL work correctly. Release schedule is TBA at the moment but I would say "pretty soon" at this stage because I already know how to do this conversion and have most of the electronics design ready 🙂
  13. 1 point
    The main thing is to find an approach, whatever it is, and be consistent so that it gets established as part of the grammar of the storytelling, whatever you end up doing. It's the old saying "if it happens twice, it's a coincidence; if it happens three time, it is a motif". The general thought these days is that being closer physically with the camera (meaning wider-angle lenses) helps create a feeling of presence, that the audience feels closer to the actor. But you may or may not want to be too distorting with the lenses. As for their POV's, some filmmakers would go over-the-shoulder of the actor (so not a true POV) to again make the audience feel that they are on a journey with the main character, while other directors would shoot true POV's (Hitchcock for example). But either way, it's the intercutting of POV with reaction shots of the main character that establish that the story is from their perspective, and avoiding going too often to objective angles or cutting to scenes without the main character.
  14. 1 point
    It's always frightening when clearly fictional propaganda pieces are sold as "documentaries" to gain traction with agenda supporters. This guy is currently the most successful documentary filmmaker in the US when you count the amount of money his books and films have made. When there are far better, "real" documentaries on the same subjects, which tell the truth. That's what documentary is suppose to be about, it has a defined definition. His propaganda is designed to infiltrate the genre for "educated people" with fictional product, which dilutes the very concept of documentary in the first place. I mean the guy is also a whack job. https://en.wikipedia.org/wiki/Dinesh_D'Souza
  15. 1 point
    I am left behind I suppose haha. I apologize to be misleading.
  16. 1 point
    Sorry I wouldn't claim to be an expert in Red camera,s .. really you would have to do tests to know as it would depend on there lighting .. . I was just pointing out to Giray that actually RED,s are very commonly used in the nat history world.. and ENG camera,s very seldom.. if ever .. but I guess shooting 8K will let you crop in but harder to shoot high frame rate ... if I were you I would contact Oxford Scientific films in the UK .. I believe they have done alot of this type of work and might be willing to share some knowledge ..
  17. 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)
  18. 1 point
    Hey Everyone, I just talked to the actually Chris Lockerman and it seems like his account has been stolen. He says he hasn't posted anything in years and is not selling this camera package. This is a scam.
  19. 1 point
    I'd recommend looking into the Sony Venice. It has dual ISO (500 & 2500 Base ISO), can record 120fps at 4k, and the image gives the Alexa a run for its money. Honestly, a lot of productions are starting to shoot on the Venice because it's a good camera. The Alexa actually doesn't seem like a good option for this job because it sounds like you'll need to keep your light levels low. If you're dead set on using Red, I'd recommend the Gemini because it too offers dual ISO (800 & 3200 Base ISO). Since RED cameras can crop in on the sensor, you could use S16 lenses and shoot the camera in a cropped mode to gain the wider depth of field. I don't believe the camera can record faster than 96fps at 5k, though. (But it also can record higher frame rates the more you crop in on the sensor!) Lighting wise, cheap LED's will most likely flicker at the high frame rate. I'd recommend Digital Sputniks (hard light) or Skypanels (soft light). --- Alternative idea: have you thought about using infrared light? BBC did it for Planet Earth (~1:56): Of course, you'll lose color which could be a deal breaker. MORE ALTERNATIVE IDEA: You could also use machine learning to color the monochrome infrared footage! One example of machine learning colorization: https://deoldify.ai/
  20. 1 point
    Different brands lenses will look very different e.g the 14mm Xeen is quite distorted but the 14mm Canon CNE has no distortion its rectilinear. And to be be honest even the distortion on the Xeen is not that objectionable unless you push it into a close up. For instance this is 14mm: Location choice is a factor and that might be regional thing... In the UK/urban areas houses certainly can be small, needing lenses in the 14 to 18mm range for 2.39:1 framed films. If you have a nice big open plan house then lens in the 20 to 28mm work for the wides.
  21. 1 point
    Back in February Ciarán gave me a call telling me that he was going to have the opportunity to shoot a commercial in Italy for the Gillette Venus brand and he asked me if I would like to go with him and shoot it for him. Knowing how passionate Ciarán is and how much he cares about the projects he picks I said yes straight away. The script was the story of a relationship between a mother and a daughter and the fragile moments when each of them are vulnerable and don't know how to approach each other because of puberty. After that initial call we started developing the tone and the approach that we thought could suit the story we had in our hands. I had a very strong reaction to the script because I had a difficult relationship with my parents during my puberty (I was pretty much a loose bullet 😄) but perspective (and age) made me realise that my parents were absolutely right about everything they said and they taught to me so this project for me was pretty much my Thank you letter to my parents (especially to my mum!). I feel that every time that you're able to make a personal connection with a project that project becomes something else, is attached to you forever and you do the best you can to make it as wonderful as you can. Ciarán told me that he wanted to go back to how we used to work together when we first met, just being free to create a scene and shoot it as freely as we could. Basically the idea was to use the script as a base to shoot a short-film and work on it as if we were shooting a longer narrative project. I like telling stories and I love telling stories in longer formats so I was delighted when he said that. From my side, as a DP, I think that I am at a point where I am gravitating towards a more documentar"ish" approach in my lighting (whatever that means) and letting the beautiful flaws of documentaries to fall into my lighting decisions, I do think that if the natural and available light of a location is already perfect for the story you want to tell there is no point on trying to be better than nature! I suggested that we approach the script from that angle and make use of whatever tools we could to create a rougher and more real than usual look for the brand. After a couple of consultations with the client we were all on board with that approach and we started taking a look at how we were going to do so. Because the script was about confrontation and vulnerability I thought that we could make use of a panoramic aspect ratio (2.40:1) and not center the characters. In terms of the camera language, since you usually are extremely focus and unaware of your surroundings when you're picking a fight with somebody I thought that we could start the project with extremely close ups of the mother and the daughter while they are arguing and open the frame a bit towards the end. For the confrontation scenes I thought that using a hand-held camera could add more emphasis to the vulnerability of both characters but a more gentle steadicam and intimate approach should be used while the characters where on their own to show that they were in their safe spaces. Thankfully Ciarán had the same thoughts! In order to be able to focus on the characters more I wanted to shoot with the Sony Venice in full frame anamorphic and I wanted to use the flaws of old anamorphic lenses to wrap the characters around them in a subtle way. Now, I am not a big fan of anamorphic lenses but I think that I found THE ONES in this project. Initially I thought about using either the B or C series from Panavision but Panavision was not in Milano where the production was going to take place so the camera rental house that was suggested by the production company came back to me with a selection of old anamorphic lenses that they had, including the beautiful JDC Xtal Express!!!!!!. They weren't sure if any of the lenses from that selection could cover Full Frame either in the Venice so I went to the camera rental house after the scouting, shot a couple of tests with different lenses and found out that I had fallen in love with the Xtals. The 35mm and the 50mm covered just about the 2.40:1 area in full frame but from the 75mm onwards we were good. In the end we used the 35mm and the 50mm, with the 75mm + diopters for extremely close-ups Moviepeople, the camera rental house, told me that those lenses hadn't been used in years and they went to calibrate and collimate them. Run by Casta Diva in Italy the production was absolutely fantastic, we flew to Milano for two days to look for the right location to shoot on and after we saw several of them we picked the most interesting one BUT the most difficult one from the production point of view. It was a 4th floor with not very good access to natural light, no balconies and streets where it was impossible to put either a cherry picker or a condor to light from outside. On top of that it wasn't very production friendly in the way that it didn't have an operating lift and it didn't have much space to put the agency and the client either! And yet, we picked that one because it had a soul and we felt that the rooms could tell a story as well. Everybody was so passionate and supportive about the project that we knew that we could make it work no matter what difficulties we were going to find. I like operating and I'm not a fan of giving away the camera to a steadicam operator but our fabulous producer brought a fantastic steadicam operator whose name is Luca Sportelli, he was so amazing that I only want to work with him from now on!!! 😊 On the lighting side I am very fixated on what I want and the fixtures I want to create the mood / tone I am looking for and it takes me a while for me to trust somebody I don't know.. however, again, our producer brought a gaffer who is just THE BEST one I have worked with in my short-time as a DP, Francesco Galli, (Call Me By Your Name, Suspiria, The New Pope are just some of the movies he has worked on) and if I could I would work exclusively with him from now on (well, him and Sergio Fuidia! 😄). When I talked to him about the kind of tone I want and shared references with him he came back to me with paintings and frames of different movies / projects. Since that moment I knew that I had found my soulmate gaffer-wise. Seeing Ciarán direct our two wonderful talent, Louise Anne Cole and Scarlett-May Grant was fantastic; he is so subtle that when he changes something you don't realise it until the talent have unfolded the scene! it is just mind-blowing! Everybody in this project was extremely caring, passionate and gentle, from our PA to the people from Gillette that kindly took us under their wing and offered this opportunity to us that I miss them so much!!. Now, here is the commercial! 😄
  22. 1 point
  23. 1 point
    I would suggest avoiding Van Diemen and Christopher Smith at all costs. They want your money up front, often do not give accurate estimates of when the work will be done (off by years in some cases), and will stop responding to emails when it is convenient for them (after they have your money). If you decide to change your mind, good luck ever getting your lenses or your money back. In my case, they also did substandard work, requiring the lens to be sent back immediately for repairs - at my own cost. Yes, they would not cover shipping costs, even when they agreed that the lens should not have left their facility in that condition. What other business in the world operates this way? If you do a little research online, you will see that this is not an isolated case. There have been many familiar-sounding complaints over the last several years.
  24. 1 point
    Bolex International aren’t busy but abandonded. Marc Ueter has left the company. Otello Diotallevi retired in 2018 and continued to work a little until past May. The new owner, Hugo Diaz, isn’t responding to E-Mails because he is alone. He has no idea of what he bought with the share package on August 28th, 2019. The website is nil. Now he’s taking summer holidays, it is said that he will answer question in September. Your camera should of course react to changing speed settings. Aapo Lettinen, member here, can help you best. I do only mechanical and optical work (and no Super-8).
  25. 1 point
    It is a pretty common method. Make sure your gaffer holds the pole steady without dipping up and down so the light doesn't have some weird and unnatural dance on your talent.
  26. 1 point
    I can’t seem to take screen grabs off of Amazon Prime, unfortunately. But take a look at the wide desert scenes, especially when the characters are having dinner outside the aircraft hanger at magic hour. If you look very closely, you’ll notice a subtle graduated filter used in the wide shots. It looks like an attenuator to me, since the there’s no obvious horizon line. It is removed for the close ups. There’s also a blue grad used in a wide shot in the desert, I think when Jennifer Grey is testing her new sail on a pickup truck. You can see part of the white building on camera left has a blue grad on it.
  27. 1 point
    The Formatt Firecrest should be fine on 35mm film since color negative stock is not usually sensitive to IR light, and the Firecrests (and other modern IR cut brands like Mitomo TrueND, Schneider Rhodium, etc) work by reducing IR and visible light equally. That said, I have not tested myself, as I still use my regular Tiffen White Water NDs on film. So please take with a grain of salt and do your own tests for definitive results. I think it makes sense to just use these modern ND filters for all cameras going forward. My current digital camera has internal NDs, so I have not needed to invest in a new set yet. But that may be changing soon. Please let us know what you learn going forward!
  28. 1 point
    Though we're talking about daytime interior scenes, Steve Yedlin, ASC shot day for night interiors by heavily gelling the windows and shooting during the day. I believe he used a hard gel? Not sure exactly what it was, but the result was obviously stellar: Food for thought regarding gelling windows! 🙂
  29. 1 point
    Lets see her art Vital. Dos she have a website?
  30. 1 point
    It sounds like she's very close to the microphone. And a few little tweaks as well, maybe.
  31. 1 point
    Best thing you can do for yourself and the director is to shoot a camera test. There’s no substitute for shooting first hand and seeing the results, and your director will thank you. But in general, shooting with uncoated lenses gives a much stronger effect. Not only do you get milky blacks and extreme veiling glare, but the color saturation is also greatly reduced. It’s a look that you can’t come back from, so if you’re not sure, then I’d go with the normal lenses and Contrast filters. But seriously, test test test.
  32. 1 point
    2-perf has the same width as standard 35mm 1.85 so the same focal lengths apply for the same horizontal view. However, due to the shorter height of a 2.40 frame, there is a tendency to compensate by increasing the field of view in general, so choosing a bit wider-angle lenses than 1.85.
  33. 1 point
    this panavision document has equivalent focal lengths https://www.panavision.com/doc/2-perf-explained
  34. 1 point
    This is slightly off-stubject, but Tamron makes a 45mm 1.8 with stabilization. I own it and it's wonderful. This might be a side-option where lens is concerned.
  35. 1 point
    Gorgeous film and beautifully shot. Alma Har'el told me they wanted to shoot on film but alas, nobody was willing to help them out budget wise, so they had to go digital. They did a pretty good job introducing texture by adding grain, playing with colors, the Xtal lenses, etc.
  36. 1 point
    If you are not sure how to do this and since you are in Berlin, take your camera to Click and Surr and ask them if they can clean the gate for you. http://clickundsurr.de/en/wir-reparieren-ihre-schaetzchen/
  37. 1 point
    What sensor? You have a film camera. The exposure aperture is dirty. Use a soft toothbrush to clean the film race.
  38. 1 point
    You can also try Rosco Scrim on the outside of the windows. The advantage over ND gel is that it can be roughly taped over the window frame, so it can be put up very quickly. But it doesn’t hold up to close scrutiny as well, so you don’t want it to ever come into focus.
  39. 1 point
    LOS ANGELES, (June 18, 2020) – Sohonet, the global experts in connectivity, media services and network security for the media and entertainment industry, announced their partnership with Moxion and its revolutionary platform for HDR Immediates and Cuts. The partnership broadens the range of remote collaboration solutions Sohonet can now offer the production, post and visual effects communities. The partnership will provide the production, post and visual effects communities with a distinct set of tools designed to enable both synchronous and asynchronous remote review to suit every use case. For review discussions that depend on real-time iteration and response, Sohonet ClearView Flex provides teams with a high-quality, secure solution. Moxion Immediates provides an equivalent experience for offline review. “Moxion is a great match for Sohonet, they understand the unique challenges that productions face, and share our vision: to revolutionise the way storytellers create content by making collaboration seamless and more secure,” says Sohonet CEO Chuck Parker. “While real-time review is a key component to the production workflow, often the whole team can’t meet for a live review session. Partnering with Moxion gives our customers space to review content in their own time.” Moxion’s Immediates offers a platform to review footage in HDR minutes after filming on the same devices as ClearView Flex (Apple TV, iPads, laptop). On-set creatives can start on mark-ups immediately and give off-set creatives the same near-real-time HDR access to the content. Additionally, editorial and VFX teams can download the high-resolution proxy to begin adding their magic rather than having to wait for it to arrive hours later after a transcoded dailies workflow. “Offering Sohonet’s real-time tool, Clearview Flex, with our offline review technology makes perfect sense,” says Hugh Calveley, CEO of Moxion. “The ability to harness the power of live review and incorporate it, with the convenience of offline collaboration, will be an extremely valuable toolkit for filmmakers.” “Right now productions are having to navigate a new normal due to COVID-19, with reduced numbers on-set, additional location challenges and more distributed team members. Sohonet and Moxion are perfectly placed to help support them from green-light to wrap,” added Parker.
  40. 1 point
    Definitely shoot log with a decent camera for starters and set the whites of the clouds to just below the clip point and then decide what you are doing to do to bring up the face. Yes, if the clouds are above the face, a grad filter will help. Polas might reduce some haze and increase contrast by darkening the blue parts of the sky but they don't really knock down the hot white areas much, if at all.
  41. 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.)
  42. 1 point
    finally back from conversion by master camera tech Andree Martin, Arri BL4s converted to two perf ARRI BL4!
  43. 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
  44. 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:
  45. 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:
  46. 1 point
    Matt, No such table exists but a fun way to study IRE values is to take screenshots of interesting scenes and pull them up in a editing program like FCP and then looking at the waveform display on the editing program. Also, if you have photoshop you can look at the HSV (HSB) values - V (or B) being value or brightness and they are numbered from 0-100 and represent IRE. I like to take screenshots of just the face or maybe just a cheek or the forehead just to see how they exposed that part of the face. Once you start seeing these still frames through waveform you start to see patterns emerge. In a brighter outdoor settings I find that the main light is around 70 IRE for caucasian skin and lighter skinned asian and latino, maybe around 60 IRE for darker skinned asian and latino and caucasian and lighter skinned african american and about 50 IRE for darker skinned african-american. I find that moonlight the moon hits at around 40-50 IRE and tends to look a bit odd when over 50 IRE. Shadow areas of the face (fill side) on more contrasty scenes are usually around 20-30 IRE, and in some really stylized and over contrasty films it can even be from 0-10 IRE. In some people with very pale skin the main light can even be 90 IRE maybe next to a window or in direct sunlight. In a lot of fashion lighting the main light can even expose skin to 100 IRE and it looks natural and nice but you need a camera that can handle those highlights - I am pretty sure that the original photos were probably not shot at 100 IRE but that it was brought up in post to make it pop more in a magazine or on the internet fashion 'e-zines'. Rim lights and kickers that are 90 IRE are very common because a lot of people like to see a hot bright edge especially in music video settings. \ In 'darker' settings like candle lit dinner I would expose whiter skin at around 50 IRE and make shadow areas around 10 IRE. The same applies for lamp lit scenes during the evening. In moonlight lit scenes I might expose whiter skin around 40-50 IRE, shadows areas around 10 IRE. In daylight scenes where there is direct hard sunlight I might expose for 90 IRE, and shadow areas anywhere from 20 IRE-50 IRE depending on how contrasty you want it to look. I daylight scenes where it is overcast I might expose for 70 IRE and shadow areas would fall somewhere around 50 IRE because there is not much contrast during overcast days but I might add some negative fill using some floppies and bring the shadow side down as low as I can. In daylight interiors where the actor is near a window and there is soft bounced light coming in and the room itself is not lit - I might go contrasty like 90 IRE on the bright side and 30 IRE in the dark side or make it more subtle like 70 IRE key, 30-40 IRE fill. Again these are just broad estimates and it gets boring if you mechanize your exposures but the above should serve as a rough guideline as to how people expose different situations.
  47. 1 point
    That's pretty vague or generic because I can imagine a very bright night scene and I can imagine a very dark daytime scene. But in general, I think it's better to go halfway when it comes to making things darker, underexpose halfway to the darkness you like and then color-correct / print down to the final level of darkness. This gives you some leeway in case you change your mind as to the level of darkness.
  48. 1 point
    You can also slap a Tobin TXM-22 into the Arriflex 16S and shoot crystal sync all day long. The Arriflex 16S is light, extremely durable, and very comfortable to hand hold. And if you get an S/B model, you can use the Zeiss Super Speed Mk1 prime lenses. My personal favorites are the Cooke Kinetal lenses for the 16S, which I find a bit more "snappy" than the Zeiss glass. Hope that helps, -Tim
  49. -1 points
    Wendy .. these cannot be used because they are way too cheap.. a high end video camera sensor will only react to ND gel that costs a minimum, $1,000 per foot .. and must be installed by experts .. the much loved Arri camera will only actually work with Arri gel made in the mountains (its the air quality) in northern Germany ..
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