william koon

I am quite confused of the white balance on video camera. Normally white paper is used to execute the white balance but why Gray card can be used too? Does this mean that the gray colour will be neutralised to 'white' since a white paper with colour tint will have the colour tint neutralised during 'white balnce'? Please help explain in details. Thank you very much.

As a "constant aperture" zoom lens changes focal length, it actually changes the aperture size to maintain the same f-stop, so the exposure doesn't shift as you zoom.

 

Sure, there is a little change in depth of field as you change focal length so it's not exactly the same thing as just cropping the shot, partly because the Circle of Confusion figure changes if you compared a cropped & enlarged image to one shot on a longer lens, where essentially the projected lens image is larger compared to magnifying the final recorded image to achieve the same image.

This is news to me indeed. All this while my understanding is, as has been explained in almost all photography books, DOF is influenced by subject's distance to the lens, focal length, iris and arguable film format. David, your explanation is logical but I am really confused.

I would add that a kicker is usually more from the side then directly behind the person.

 

Here is an example of what I would call a kicker:

 

As far as whether or not you NEED it, that's up to you.

I would like to think that it is very important as it brings out shape and dimension. As for my practice, I will make sure that I place kicker for the subject even it is difficult to place the light sometimes.

Hi, Can anyone explain the difference in lighting for video versus film? Is it correct to give a narrower lighting ratio for video as compared to film ? Thanks

Sure, if money's no problem, 4-perf. Like Stephen says, you can then teach anamorphic. Give some thought, however, about where post production is heading. Will your students end up working in an optical post situation when they graduate or will they more likely end up in digital post jobs? With digital post, they'll work in digital dailies and workprints from telecine and increasingly higher resolution digital scans for eventual output to either film or digital formats for distribution (therefore, perf-format becomes less of a concern as there are plenty of telecine and scan rigs that can handle all three formats). I only volunteer this since you have demonstrated a concern for positive prints and projection. I suspect that your interests in optical post are disappearing from the industry as we speak.

Having said this, do you think it is a waste in pursuing optical post since digital post is taking over the job?

Thanks very much for sharing the Wikipedia link Tasha.

 

William If your going to DI or finishing on tape 3 Perf is an attractive format. I own a 3 Perf package and shoot for TV never going to print. I'm very happy with the format. Spirit telecines can handle 3 perf with a flick of a switch. As your camera is for student use the 2 perf option may be worth looking into as well due to the increased stock/cost savings.

 

Cheers

If budget is not a problem, what format should we go for? We may need to see the rushes on common projector, at the same time we may go into editing on film just to get the experience.

Hi David, I am sorry for the confusion. Infact I have no knowledge of 35 mm technology. All this while I have been learning about 16 mm camera. My institute intends to buy a 235. I am not sure if the camera caters for 2 perf, 3 perf and 4 perf format or we have to change gate and shutter to get the desired format. How about projectors? Do we have to buy different projectors to view the 2 perf, 3 perf & 4 perf formats. If you have time please explain more. Thanks

Hi friends,

My institute intends to purchase an Arri 235 camera. Can anyone please offer your recommendations?

(1) What are the differences between 3 perf and 4 perf film and can Arri 235 take both perfs?

(2) What are the prime lenses we should buy for student training purposes?

(3) What range of zoom lens should we get?

hi,

I hope I am on the this topic, may I seek your advice and tips (1) how to estimate the length of film to be laced on the camera with the 2 loops and (2) how to make sure that the film sprocket hole is engaged to the claw at the gate as the claw is always away and the film is not engaged firmly after the pressure plate is kocked?

Hi all,

Am planning to shoot on super 16mm negatives then blow up to 35mm as a final product. Someone has suggested to shoot straight on 35mm negatives instead as, mentioned by him, the cost is the same. May I confirm with you all? Thanks.

I thought I remembered reading about zone system here before -

 

a quick search reveals the original poster here has already asked the same question:

 

http://www.cinematography.com/forum2004/in...mp;#entry174941

 

You've twice been linked the wikipedia page on the Zone System - a read of that page 'in plain english' should have answered your query, or at least started you on learning about it ...

 

So whats this all about Mr Koon ?

Sorry Nick. I have posted earlier but unfortunately I still can't understand the real concept. Forgive me for wasting your time I would like to think that more people will respond to my question and I will understand fully. Right now I am still thinking of what is the purpose of this system? How do I use it in my cinematography? Patient teachers, please kindly explain with examples. Thank you.

can someone please explain in plain language what is zone system in cinematography? Thank you in advance

Please explain what is 'zone system in cinematography'? Thanks

Cancer is probaly the Worse disease their is. _ But their is always another route to try. _ Radiation has worked in many cases, it is brutish but can kill very selectively. Please stay positive and do get a second or third opinion. this better to live on IV and continue to learn than to not ask as many questions as you can.

 

We are all hopeing you can keep that imaginary stick on the ice.

John,

No. That is certainly not your last post to us in the forum. We still need you. You could see so many are responding to you and wishing you speedy recovery. Look forward with your strong will, you will succeed. Regards to you and family.

Dear John,

Cheer up. With your positive determination and all our wishes, you will recover very very soon. Take good care.

I recently sent 1 roll of 7205 & 1 roll of 7218 for processing. After TC to DVC pro tape it was found to have a vertical continuous smeared blue line on the right side of the frame throughout the entire roll. The line is more distinct in 7205 but almost invisible in 7218. The line does not run as straight as a ruler but meander left and right a little. I checked back the negative and confirmed the line was on the negative. Please comment. Thanks

John & Nick,

I pray hard for both ou you. Both of you have been very positive in your mind. Though you are sick, you come up to share your experience not to seek simpathy but post us with newer knowledge and info. I appreciate it very much. God bless you. Have good rest and take care.

The net density is normal because you would normally have gotten extra density from the overexposing, but you pulled the processing by the same amount to compensate and thus ended up back to normal density. Pull processing reduces density.

 

However, you'd end up with less grain, less contrast, softer blacks and colors.

thanks David

Regards

They both handle a one-stop push well -- I've done it to both stocks on different features. However, I haven't done a side-by-side test.

David, What happens if I overexpose the stock by 1 stop and pull 1 stop in processing? Does it mean it decreases the density and lessen contrast? Thanks

Um, they are just PAR64 cans. Simple and cheap but a lot of light for the money.

 

KZ, thank you for your trouble to post me the pictures. I appreciate it. regards

What everyone is saying more or les is that the PARs don't have the spread to be even slightly useful for lighting a green screen. You would need to heavily diffuse them.

 

I would be especially leery of buying any HMIs as they are extremely expensive and require a good deal of maintenance.

 

A $5500 HMI rents for $180 a week. Do the math and then see if it pays off.

 

That said, I have long spoken against buying equipment but I also recently bought 10 PAR cans (tungsten) and have been able to keep them working pretty well so far. They are low on maintenance and cheap, and that is what I would look for in gear I needed to own.

 

Kevin Zanit

Dear Kevin,

I am interested in your par lights you bought. Wonder if you can post pictures of your lights. thanks

pls advice ways to eliminate scanning lines while shooting images from TV or monitor using HD CAMERA.

Is this film ,HD ,video ? i think it makes a difference when lighting the blue screen and how much under or over you go .

I intend to go for HD. Pls also advise the differences in film and video.

I noticed that most of the lightings done for video shoot used diffused lights. Does this mean that direct or naked lights are not suitable?

the distance from the screen is to avoid spill of the blue on the subject which make it hard to key

 

so dont light the screen to strong (comen practice is one stop under )

Why one stop under is required?