kpv rajkumar

hi, dave, let me chip in too and keep the fire going !

mired = micro reciprocal degree.

also, '.... equal changes in color temperature are not necessarily percieved as equal changes in color. a change of 50k from 2000k to 2050k will be a noticeable difference in color. for an equivalent change in color perception at 5500k, the color temperature would need to shift 150k and about 500k at 10,000k. for this reason the mired system has been devised........' (blaine brown, in his book 'motion picture & video lighting' )

Hi,

 

They look good. Cheap and easily portable but i'm not sure how durable they would be compared to something like Kino. Maybe a good cheap pack for a documentary film maker or someone that does a lot of interviews.

 

Even the way they are marketed is "cheap and easy to do it" sort of thing with girls in cocktail dresses. Nothing about these units really appeals to the professional filmmaker.

hi, the stuff looks real good and kinda inexpensive. are these cool lights available in india ? actually, part of my minidv docu work involves interviews and i get the same effect (more or less ) by festooning 4x 400 watt chinese-made flouroscent globes in chinaballs that wraps around the subject from seperate light weight aluminium stands. :) rk

I don't think there is a wrong or right way to do it. For me it depends on content and how that bottle is shown for that content. I've lit 50 such set ups and probably did them 30 different ways depending on the situation, my mood and what equipment I had available at the time.

 

While it's a simple set-up designed to give insight to a newbie using as little equipment as possible, perhaps this may help.

 

http://www.bluesky-web.com/tabletop.htm

My preference on such things as bottles is a combination of large soft reflections and specular highlights when called for.

loved your third pic, wal . the 2k kick from frame left makes a good wine light already(reminds me of grover washington jr's wine light album ! ) even without the red flame slashing through-which looks too 'sloshed' though ! :P rajkumar

:P

 

 

be judged by the work..yeah i like that. let me be judged by my work. a rose is a rose even if by any other name it is called ! rajkumar

I like the title "cameraman".....it seems the most humble.

hey, i like 'lighting-cameraman' ! atleast that's what i put on my showreel-scriptwriter, director & lighting cameraman!

talk about identity crisis ! rajkumar

Hello All,

 

I thought I was one of the few that could see the glory of Robert Richardson's work.

 

In my opinion he is one of the best living cinematographers. Really, a master of the widescreen. So many people shoot in widescreen, but really don't understand how to use the space. Richardson is a master at it.

 

Most all of his films look incredible, but JFK is really a standout for me. HEAVEN AND EARTH is another.

 

THE AVIATOR was really a feast for the eyes.

 

He is an ultimate cinematographer at the very top of his game. I actually look forward to seeing films with his name on it reguardless of what the story is about or who is in it.

 

Mike

wow, i love bob's stuff too ! his crashing top light stuff (JFK), his hand held/long lens stuff( PLATOON), his grit,grain & bleachy stuff(NBK), his long, wo- wo (walk on, walk off !) steadicam stuff (KILL BILL, love you too, larry !)but most of all i love bob's gandalfian snow white hair ! rajkumar

I?m starting to see that as a reoccurring problem with the VX 100 A. The manual focus which is supposed to set a depth of field 1/3 in front 2/3 behind the subject actually is almost 100% behind the subject. I shot yesterday and I think that happened several times. I check out a camera at a rental house last week and saw this effect with a different camera. I think when you are wide you need to pull the focus closer until the back ground starts to go. I think this is a flaw in the camera system.

 

I'd love to hear if other folks are seeing this [problem in manual zoom on the wide end.

it sure is a flaw, bob. and looks like it runs in the ag dvx 102 family too ! some six months back i was shooting trucks and i had out-rigged the camera on an elaborate truss system ( a la, bob richardsons' tigerland !) which gave me a menacing 3/4 angle on the left front wheel+cab. i screwed on a w/a conversion lens, engaged the 1/64 nd, set the exposure, put it on auto focus and told the driver to floor it on the circular test track. but what i got was all out of focus, especially the wheel in the fg. later i reshot the whole thing on manual focus mode and it worked fine this time.

from what i understood, it looks like the lens on af mode needs a few frames( or, a few seconds) every time to get its act together. but with the truck travelling in circles at high speeds, the optics experiences what i call a condition of 'continuous bewilderment', what with the constant new deals in terms of staging/blocking happening all around it and so loses focus literally!

rajkumar

By the way, there's a reason why construction workers wear what shoes they wear. Those are made for standing around and being on your feet all day.

 

Go to your local construction site and take a few notes and see how those boots work for ya. Otherwise, just go for a nice flat soled pair of New Balance, always extremely comfy.

 

You can also go to your local ski shop and get a pair of insoles that are molded from your foot. Those work wonders.

as a lighting cameraman/director doing a lot of running around on the floors + climbing on to greenbeds and permanents, i'm pretty comfortable with a no-frills, (clunky looking, like a '50's DeSoto , though !)'woodlands' construction boots for the past 4 years or so. i even wore a pair during a trans-himalayan trip in ladakh in the middle of last winter ! however, the army guys (with whom i had barracked for about a week) advised me to wear their own standard-issue snow shoes to avoid frostbite! keep on truckin' :) rajkumar

If I understand correctly?

Michael C. point is that I have a "shot at it" ONLY with P2 but not with mini DV tape?

Paul W. Only refers to Redrock adapter...In my limited amount of knowledge I do understand what the adapter will do ( mainly depth of focus). That is NOT an issue for me since I shoot either in a spacious studio or in exteriors( so I can get the distance to "fake the depth" by going furhter away from actors and zooming in).

So far then, my key question: HVX 200 in mini DV mode ( not P2 mode) compared to digi Beta remians "hazy", but leaning to no. Anyone else can throw in their two bits?

Thanks

hi ! i have similar questions too !

a) how does shooting on hvx 200 with a miniDV tape ( interlaced mode) compare with shooting in DigiBeta, in terms of resolution lines and a subsequent NLE throughput on avidexpress hd pro?

B) what is the benefit that i get if i use only miniDV tapes in a hvx 200 camera ( interlaced mode) compared with shooting miniDV tapes in dvx 102b ( interlacede mode) ? thanks, rajkumar

http://www.expandore.com/product/DV%20Prod...nce_100_102.htm

http://www.expandore.com/product/DV%20Prod...e_100B_102B.htm

 

The 102 series are ONLY PAL. The AG-DVX series come as either NTSC (100A or 100B) or PAL (100AE, 100BE, 102AEN & the 102BEN)

 

The latest NTSC model (100B) offers 60i, 30p, & 24p.

http://www.bhphotovideo.com:80/bnh/control...egoryNavigation

 

The latest PAL model (100BE or 102BEN) offers 50i, 24p, 25p & 30p.

http://www.bhphotovideo.com:80/bnh/control...oughType=search

 

So maybe I wasn't clear enough. There is no real difference between the PAL 100BE & the 102B.

Obviously there will be differences between the NTSC 100B & the 102B (which is PAL).

I had just assumed that the first poster was refering to the 100BE, as they were comparing it with the 102. :)

Thank you for the info, and the sites, Dsheehy.

Panasonic offers 4 different PAL models; the 100AE, 100BE, the 102AEN & the 102BEN.

They are aimed at different areas of the PAL market... the 100 models are aimed at the European market, while the 102 is aimed at the Asian & South Pacific markets.

 

The only difference is in which type of AC cable you will receive with the camera, they are identical in all other aspects.

Whether you receive the 100 or the 102 will depend on which dealer you order it from.

Hi, Dsheehy ! among the differences, i think the 100 series has a 24 fps Progressive mode, while the 102 series has a 25 fps Progressive mode. Also, their interlaced modes also differ. They are 60i and 50i, respectively.

I wouldn't worry about those differences.

 

Matching in the half way world between full daylight and tungsten is even more confusing with the CTB working in 1/4s and the CTOs seemingly in 1/3s. I expect that's why Rosco brought out the 1/3 CTB which converges with the 1/2 CTO at 3800K. Assuming 3200K and 5500K light sources respectively.

 

Hmmm... pity I sold my colour temp meter to one of the local gaffers.

Brian, was it a Bogen color temp meter ? must be good.

I have found that CTS and CTO combined on an HMI seems to match to tungsten better than just CTO. Anyone else find this, or is it just a personal preference?

wow, noted for future guidance, chris ! thanks a lot, rk

85 gel exists (rosco) and it is different from Full CTO (rosco) in specs. Hold them up side by side to a light and see if they look exactly the same.

 

AJB

Is it Rosco's 'FULL CTO' vs Rosco's 'HMI To TUNGSTEN' that you're talking about, AJ? (Because my swatch book does'nt have any actually marked '85'). Both convert Daylight to 3200 K clean. But, while the former transmits 55.4%, the latter does 58.2%.Thank you!

So did I until I checked the spec from the filter manufacturers. With LEE Full CTO corrects from 6500K to 3200K (mired shift + 159). Roscosun Full CTO corrects from 5500K to 2900K (mired shift +167). Their 3/4 CTO to 3200 (mired shift +131).

 

A 85 camera filter has a mired shift of + 113 and the 85B + 131.

 

Of course, the lighting filters may not actually do it in practise, but that those are the manufacturer's specs.

Thanks for the info, Brian. I checked my swatch books too. The mired values of Lee's Full CTO & that of Roscosun's do differ, negligibly though.

Actually id have to disagree with you there Brian I always thought full CTO converts to 3200K, 3/4 CTO converts to 3500 or 3600K depending on which brand of gel you use - maybe its a north/south thing:)) But as you said with such a small difference it is really a matter of taste.

Speaking of gel brands which is just as important a topic- all the gaffers i have worked with tell me that Lee and Calcolour are the most consistant roll to roll. Other brands are less consistant in their transmission and colour temperature - so be warned, not all CTOs are the same!

 

kpv rajkumar - 85 is the name of the filter you would use on the camera to convert tungsten film to 5600K daylight. It is the same colour as Full CTO and has the same stop loss so i think you're just confusing the names a little bit.

Hope this helps,

Steve,thanks for clarifing that for me. from now on i'll not order, " 85 that HMI!", when it actually should be," "Full CTO that HMI ! ".Sometimes, i do interchange these two nomenclatures on a snap, which is not accurate. thanks again.

Are you using HMI Pars or Par Cans?

If you are trying to balance a HMI to a ParCan (Tungsten) then you need to put Full CTO in front of the HMI. You will loose 2/3rds of a stop of light by doing this.

If you are worried about your hmi being off color then first try replacing the bulb with a fresh bulb. Wait untill the light has come up to temperature and then measure it with a colour temp meter. Add Plus or Minus green if required. HMI's with older bulbs can turn a bit greenish and they do need to be checked regularly. Hope this helps,

hi steve! let me tailgate this beautiful thermal!

is it ok if i gel the truant HMI's with 85 instead of Full CTO?

if so, then what are the trade offs in terms of stop loss?

Anyone for a bestshot.com site using steadishots.org as a model with comments from the sender.

It could be the ultimate source for designing a shot any style, as long as the comments

clarifies on the motivations of camera moves, lighting and actors performance, sound, cutting

and other aspects of film making.

Alexandre

love that idea, alex, count me in and let's start with the pacing of larry mcconkey's awesome, jaw dropping, four minute steadicam shot in ballhaus's goodfellas!

ok,as a self-teaching , (rather late starting), fly-by-the-seat-of-your-pants, lighting-cameraman who makes a living by also writing & directing his

commercials/corporates, this idea is like dear ol' connie coming up in my dreams and blessing me by giving me his own meter !

The opening shot of Barry Lyndon

thahk you for reminding me of john alcotts awesome candle lit work on that film! ( i simply love that tracking shot during the battle march!0

i'm also perpetually entranced by dante spinotti's work in heat-especially the shot in which niro chats up brenneman on the terrace -overlooking la's city lights, with goldenthal's touch and go trance taking care of the rest! any one on the same trip ?

You all keep forgetting Amir Mokri... ;)

....and Lance Accord's slick, green-cast Tokyo work in Lost in Translation!