Jump to content

Igor Trajkovski

Basic Member
  • Posts

    364
  • Joined

  • Last visited

Everything posted by Igor Trajkovski

  1. Almost all digital meters have couple of frame rates included, reachable either when entering CINE mode via custom settings or as in most Sekonics, after reaching the end of shutter speeds come the available FPS with 180 degree shutter in mind. The usual suggestions for different shutter angle is to compensate with offset of the ISO. This screenshot of Sekonic's L-608© user manual explains this very clearly: While the 608 and 608 Cine both measure also FC/LUX the newer Sekonic models offer such measurements only in the Cine variants. From what i see the difference between the 608 Cine and none Cine models is: Analog scale in 1/3 stop (vs 1/2), more fps available, selecting shutter angle, FC/LUX FL/cd/m^2 (vs FC/LUX). Best. PS: BTW, what's wrong with the Sekonic L-858D?
  2. Have you tried the calibration compensation function? (Page 25 in the user manual - LINK) It goes only -/+ 1.0 EV Best.
  3. As for combined meter, NEW, there are the Sekonic 758 & 858, Gossen Starlite 2, Kenko KFM-2200 All above $500USD (in USA). As for used and older, check the Sekonic 558, Minolta VI, Kenko KFM-2100 (rebranded and same as Minolta VI). The Minolta VI can be found for good price on ebay. The KFM-2100 is the same meter. If you can find one you'll have a newer (by age) meter, since it was discontinued just couple of years ago.
  4. I like on specs the 858. Seems got all you need. What worries me is the boot time... ... Here on the topic of lightmetering & review of 858: The Sekonic L-858D-U Speedmaster: Is a light meter necessary in the digital age? And here link to a thread with the same question on Reduser: Sekonic L-858D vs L-758Cine The last lengthy post on page 3 has some interesting points. Best Igor
  5. Just bumped on this topic, i rarely go to this subforum... Couple of months ago i was also curious on what happens on YT with the luma values, so did a short clip for test. The description for the video (copy/paste): 10 sec clip from fbelle-nuittes tchart HD.tif To help see where YT puts the whites and blacks after upload. Clip was rendered in Sony AVC BluRay 25p preset. After import again in Sony Vegas, RGB parade showed all values below 16 and above 235 where there. After upload on YT, MIN & MAX luma values are 16 & 235. Everything below and above is clipped. So, Black on YT is 16, White is 235. Luma Values after upload to YT (belle nuittes tchart HD, Clip 10sec) ... You can find the Belle Nuit Testcharts HERE ... I stumbled on Vimeo clip with the same chart - LINK. It shows it preserves the whole 0-255 range. However, no info on what codec was used on the upload video.
  6. The aesthetic of the out of focus image part is called bokeh: Wikipedia - Bokeh One of the key factors defining the look, is the shape of the aperture in the lens. ... The "legendary" look of the images you like might be from the fact that Basterds was shot anamorphic. It has it's specific look, blur, distortion etc... In this article from RED (Digital Cinema) about anamorphic lenses, there are sample images of standard and anamorphic bokeh: RED.COM - Understanding Anamorphic Lenses Cheers.
  7. from FDTIMES.COM by John Fauer: Sony Venice Fully Functional FF in February "I would imagine that Sony headquarters reacted to a frosty reception by rental houses and users by deploying a squadron of software engineers to work round the clock since then."
  8. Somebody uploaded the Kodak Cinematography Masterclass with Dean Semler on YT. There he reconstructs a scene in a natives tent with fireplace. Might give you ideas, the thinking behind it. Kodak Master Class Series: Lighting Dances with Wolves
  9. This might be the "darkest" Trek. And I don't mean visually. :) It's been awhile, but as i recall the other series were more on the polite, civilized side in depicting personal and intergalactic conflicts. Here i feel some darker aspects of humanity portrayed, as if humans/federation hasn't reached that level of sophistication. "Downton Abbey" vs "Game of Thrones" The comparison might be too contrasty but you'll get the point. :) I personally like it, giving more realism, more honesty. War/conflict is a "dirty" business. ... Episode 3 was "Trek" meets "Doom 3" (the video game) meets "The Thing" (Carpenter) :) I can't recall such graphic depiction of mutilated bodies in the other ST shows. Best IT. PS: I like both, "Downton" and "GoT".
  10. I watched the first episode, now the second. Looks good. Feels very modern, makes the previous ST's "outdated" :) (except J.J's Trek and after). It is entertaining for me, won't comment/hair-split on story, character, acting... Maybe it needs some time to fine tune, find its footing. Hell, even when i rewatched TNG form start i felt Picard was "wobbly". Your thoughts? PS: Before posting this i finished the second - it IS VERY promising. At the end of it is a trailer segment on what awaits in this season.
  11. While i think the Spectra IV is a fine incident meter, i would not bother with using attachment for spot metering. I would go the two separate units route, or buy a combined meter ranging from the Sekonic 608 upwards, or (Konica) Minolta VI (2nd hand), it's rebranding as Kenko KFM 2100, or the slightly upgraded KFM 2200. As for the 858, it looks like a very fine instrument. What worries me personally is the boot time, since i'm enjoying the instant startup of my Minolta VF. From what i've seen in videos it isn't that bad, plus the manual says you can skip the startup screen by touching it. Might be totally non-issue for someone/most/in practice... Maybe someone who already has one can chime in.
  12. Auto rickshaws Puttaparthi, Andhra Pradesh, India, 2004
  13. Was looking for one specific image and found more in the folders so here some of them. Not to make it a travelogue, but... Shot 2004 on 3mp Nikon Coolpix 995, on my trip to India via Bahrain. --------------------------------------------------- Bahrain Airport, 2004
  14. You got it right by "...reading from the meter will always be the correct or optimal t-stop for my key, and only if I want the face to be darker or brighter to fit the mood I will have something else to factor in". ... Make a shot with 2 heads. One Caucasian skin the other African American. How will you expose on a waveform? Probably as you said, putting the Caucasian at 70IRE. Where would the dark skinned person fall on the IRE? Definitely lower. Under that same amount of light you have properly exposed light and dark skin. Take an INCIDENT reading. (If the meter readings don't match with your camera settings, adjust the meter ISO until you got the same or near stop as in your camera. Note the ISO differences) Start from scratch, but measure with you meter first (taking into account the possible differences in ISO between meter and camera). Fire up your waveform, you should see the IRE's as before. 70 and lower for the dark skin. ... Under the Sun, the white persons skin is white, the dark is dark. They are lit by the same amount of light. ... I have the impression, you might have exposed the dark complexions a bit hotter, to appear lighter on screen and now be uncomfortable with the result of incident meter making them darker. The above relationship of IRE's in the two shot will remain when you meter with the dome.
  15. Yes, you set the aperture indicated by your Incident meter. That's the idea of incident metering. See this example with white, gray and black plates exposed by incident meter: Sekonic - The benefits of using light metering - Incident Metering ... The 18% thing and +1 for skin tone is relevant in the realm of reflected, spot metering. You point your spot meter at a white wall and expose by the readings it'll appear ~18% gray. At 18% graycard it'll appear ~18% gray. At a black cat, you'll get a ~18% gray cat. So the spotmeter says "Point me at any surface and i'll tell you the exposure to make it appear mid gray". The spot metered Caucasian skin will render mid gray. It is lighter, as the saying goes, by one whole stop. You open up by stop from the reading and that's you proper exposure for that theoretical Caucasian skin.
  16. If you take a reading with an incident meter for the sun, any object or subject lit by it will be exposed correctly. Pale, caucasian or black skin, foliage, sand, concrete etc. will be properly exposed and show their true tonality. Same with artificial key light. You measure the light and everything you place at the point of metering will be properly exposed. That's in theory. In practice, your starting point is the ISO, f-stop and shutter as indicated on your camera and meter, and there is a good possibility the image can be slightly over or under. Then you compensate by offseting your ISO. If you camera gives you proper(*) exposure at f2.8, 1/50, 800 ISO, and your meter shows f2.8, 1/50 but on 640 ISO, you'll know always to decrease the ISO by 1/3rd stop on the meter from your camera setting. (*) Proper - what you like on the monitor, the subjective method, or by using gray card, or other charts with black, gray and white patches and placing them properly on the waveform. ... Other factors to consider while you test this out: - Metering toward the light source or metering toward the lens. - Types of light affecting the metering. For example, daylight might give proper exposure, tungsten lower. - Lens apertures behave differently then their indicated values.
  17. Since there is no movement as you described, you can do with just taking proper photos of the building and the desert place and Photoshop them together. By proper i mean matching angle of view, camera height and lighting, as David mentioned. After creating the "real" looking matte (painting) image, in your NLE, you can add some slow zoom, to add interest to the shot. I would probably do a take with the camera i'll be using a black clip. Lens cap on, ISO the one i'll use for exterior. I will overlay that black clip's (micro) noise over the image, to give interest and "life" to the still image. As being shot with that camera.
  18. About the fill: if it ain't black there is fill. Fill here can be the existing ambient light, not just the "photographic" fill with bounce or another light source. Black is what comes our as black photographically based on you camera latitude. -3 stops will probably look black on consumer camera and on Alexa not. ... About cheekbones and stuff... Don't forget makeup. Women apply rouge to emphasize them. In very soft lit environment they'll give that impression. Put them in light that does the same you'll get the combined result. The blending. If there is not enough soft transition of the rouge, plus the lady has naturally bigger cheekbones, it might appear Angelina "Maleficent" Jolie like :) ... While the final analysis of lighting and "real" appearance of photographed subject in stills can be questionable, i think the same happens quite a bit in moving images too. While i explored the world of color correction and roto/paint, with main interest on how to enhance the image or correct some unwanted mistakes, i was amazed on the amount of techniques for "beautifying" the subjects. I couldn't believe the amount of effort someone will put in retouching moving images. Well it is not the frame by frame retouch, you use surface trackers, masks, filters, all keyframed to lessen the effort, but still!... Smoke and mirrors! :)
  19. Seems you'll be doing this? YouTube - HOT WHEELS P.O.V. with GoPro 5 Session
  20. As one acting/mime/adventurer professor shared a story: In India he met a person who never left the street he was living in. He asked him why. "I've found my place" - replied the calm man. ... So, it seems you have "found your place". :)
  21. ATARI is still alive and kicking! :) The Verge - Atari is somehow still around in Blade Runner 2049
  22. Already answered in post #271. "Rebecca" (1940) by Hitchcock.
×
×
  • Create New...