william koon

David, What are the options to achieve 'shallow depth of field' if I have to shoot inside the cab? thanks

Thnx Mic & Mitch

Hi, (1) Can I do white balance in this HD camera or preset it to tungsten/daylight? (2) How do I get the approximate ASA for this camera? Thnx

Hi Jon Kukla, Thank you so much for the trouble to post the picture. I got it and cheers

Thnx all for the effort and inputs. Infact my real problem will be the floor blue/green screen as mentioned by Stephen 'zero' distance. What are the alternatives?

I intend to shoot a couple of scenes in a hall on blue screen for CGI's purposes. The blue screen will cover the background as well as the floor. Please help solving a few questions I have as follow : (1) Must the blue screen be evenly lit ? If so, how do I light the floor evenly as a few talents will use the space and cast shadows on the floor? (2) How far the talents must be away from the blue screen at the background? Again, how to solve this distance on the floor? (3) How effective is the CGI if the talents are to be lit in low key? Thnx

Thank your Jonathan for the trouble. I appreciate it.

Thx Jon kukla. I got a rough idea from your help. Wonder if you can show me some pictures. Anyway, I too don't understand what 'tie down' is. I got it from a list of equipment provided by grip renting store.

Can somebody help to explain PL mount and Bayonet mount for zoom lens? What is 'tie down' which I found in equipment list? Thx

John Pytlak, Glad that you are out of the hospital. I have been praying for your speedy recovery. I am sure you will be fully well soon if you observe your doc's advice strictly coupled with your own strong determination to recovery. Hope to see you in this forum actively again. All the best.

I have come across these readings mentioned in the topic. What actually these refer to? Kindly explain.Thank you.

thx David. What ASA should I use then? or shall I set to about 320 ASA just to get a guide for the key to fill ratio followed by setting of exposure by refering to monitore (assuming I have no waveform monitor)?

I heard a lot of this .. 4:4:4; 4:2:2; 4:2:0. What are these? I am sorry for this question. I am blank to these figures.

Is lightmeter needed for HD shooting for at least to check lighting ratio? Some suggest that they only depend on the waveform monitor to judge. How do we judge depending on the waveform? Please explain step by step how to use the waveform as a reference.

Can somebody suggest how to read the waveform ? If I dont have the waveform monitor, can I depend on the zebra set to 100%? If I dont have the lightmeter, how do I set the contrast ratio? Please help.

Hi John, Shock to hear you are ill as I was not in the forum for sometime. You have been my source of knowledge. I must admit that I have learnt a lot from your comment. Not to worry so much, with the help of your doctors and modern medical knowhow, I am very very confident that you will recover soon. You are always in my thought and I pray for your speedy recovery. May I invite all the forum participants to also join me to pray for John's health and ensure he will be active again to contribute in the forum, We still need you. Regards and lots of love to you, John.

TQ John P Pytlak. 1. Do you think this difference is very visible as the ASA difference between 64 and 50 is 'negligible'? 2. May be you missed my 1st question and I am lucky to get you from Kodak. Please explain what is "VFX capabilities" as printed in your Vision2 Motion Picture Film pamphlet.

Hi all, Can someone explain what is VFX capabilities as stated in the Kodak Motion Picture Film catalogue? Kodak 7201 carries ASA 50 for daylight. Does the result be the same if I were to use 5212 (100T) filtered by Wratten 85 to shoot the same scene with the same source of light? thanks.

David, thank you so much for this special explanation.

David, Is soft and hard lighting a personal liking or each style implies different message? Which of these lighting do you practise while you are in a project? Am I right to conclude that soft lighting produce better video images and hard lighting produce better celluloid images? Sorry for the ignorance. Thanks in advance.

Hi There, I came across a video shooting on lacation a few days ago. Noticed that the DP filtered all lights with tracing papers (if I name it correctly). Please tell me the reason of doing that. I personally feel that with the filters/tracing papers put after the barn doors leave us limited control of the light spread. Of course cutters could be used but they add extra burden and space. Will it be the same if I throw those lights directly to the scene with equal intensity as the filterd lights mentioned? Instead to using the cutters and c stands, I make use of the barn doors to limit the light spread. Only failing which I then sort to use cutters. Please comment.

Lights in supermarket are of approximately 3200 K. I plan to have my shoot using Fuji 500 ASA which suites the T stop I need. Do I need to place extra lights to give some kickers for the talents ?

Lights in supermarket are of approximately 3200 K. I plan to have my shoot using Fuji 500 ASA which suites the T stop I need. Do I need to place extra lights to give some kickers for the talents ?

thanks for the advice. I have tried it out.

It will be a play back shooting of a few dances with songs performing on an open stage sized 30 feet wide and 20 feet deep. There wont be a backdrop but a see-thorugh like to see other activities behind the stage. In other words, the background must be lit too. The camera would be mounted on a few straight track and a few curved tracks. Sound complicated. I need advice how to begin lighting up. Should I also keep the colour warm? Do I need to also give the effect of blue tint suggesting moon atmostsphere ? Hope this will help. thanks