J Costantini

Hi

Have you guys tested the new FujiFilm stock ETERNA 500T?

I've watched a few tests and liked it a lot but haven't tested myself.

Any comments? In comparison to Kodak's 18 Vision2??

Thanks

Right, thanks for the links.

I know, thanks.

I just wanted to understand better the "But I can't say that it would be a significant improvement." part.

But if I use the same lens shooting 16 or 35mm won´t the different magnifications on screen give the feeling of different depth-of-fields??

Hi.

I still have some doubts regarding the relation between circle of confusion, depth-of-field, formats and magnification on screen.

What exactly dictates wider or shallower depth-of-field when we compare formats using same lens and aperture?

If I use a 25mm lens with a 2.0 opening shooting 35 and then 16mm, why do I get shallower depth of field on 35?

Any help is appreciated.

Thanks

Ok. Now I understand that a DV format can hold either a 4:3 or 16x9 image, letterboxed or not.

BUT

for these goals (having a final video with 1.85:1 crops and offline telecine it to minidv), will it make the difference, in terms of image quality (grain and resolution), to shoot regular 16 or super 16mm???

One more question: do I need new considerations in terms of depth of field??? What circle of confusion should I consider when shooting super 16?? Same as 16?

miniDV is originally 4:3, isn't it?

Can it hold a widescreen format such as super 16mm without losing information? Will I be able to have the whole information coming from the super16mm negative area on my miniDV tape? Don't I need an HDCAM tape in order to hold such information due to the fact the HD is already a widescreen format??

What do you mean when you say "WITH BLACK BORDERS", please ?

Thanks

Depends on how you define "good contrast" -- if by good, you mean low, then most ways of lowering contrast in video can bring up the noise level.

 

On the other hand, low contrast images in film tend to bring out the grain level, so it's not like film is immune from the problem either.

 

In both cases, either using more contrast in the lighting or using a slow-speed stock (or shooting at minus-gain in video) will help reduce visible grain / noise.

 

Yes, HD tends to have less visible noise than SD, but if you project it on a 75' wide theatrical screen, the noise can become visible again.

<{POST_SNAPBACK}>

For good contrast I meant "high contrast". It is hard for me to obtain very constrasty images using video, specially DV, because if I leave parts of the frame unlit or underexposed it will show grain, which sometimes is not wanted. Is that a fact for all of us or my camera may be bad or not properly set?

PLEASE CONSIDER THE OTHER POST, SORRY.

Hi.

I would like to hear from you about shooting chroma key scenes using blue screens, please.

Any tips on lighting? Advices? or precautions to take?

Should I backlight the actors a lot, a few?

what IRE value should I have for the blue screen? should I overexpose it?

What should one do to avoid the blue on the actors' clothes and faces? (that "glow" around their hairs, etc)

is it a problem to have the blue area to be cut out of focus?

Any help is appreciated in order to cut the subject better in post, thanks.

PS: we're using a dsr-390

Hi.

I would like to hear from you about shooting a chroma key scene using blue screens.

Any tips, advices or precautions to take?

Any help is appreciated, thanks.

Is your gain set manually to "0" or is it on auto-gain?

 

If so, the problem could just be that the gamma setting you are using is designed to create a lower-contrast image in the shadows.  There's no free lunch here; often gammas that give the video signal a flatter "film look" also add noise.  Crushing the blacks a little -- maybe adding a little more fill to compensate -- will help hide noise better.

<{POST_SNAPBACK}>

Thanks

It's just that it seems to be impossible to have both GOOD CONTRAST and LITTLE GRAIN on the same video image... no matter the camera you're using... the F900s, VARICAMs and VIPERs must get closer... i dont know

this is probably the best cost-effective book on cinematography ever.

Hi.

I have a dvx100 which has been used moderately for 2 years now. It has about 300 hours of use, including capturing sessions.

on my last experiences I have noticed excessive grain (or video noise) when I shoot under low light conditions or even when I have a well lit frame but a small part of it is in the dark it shows a lot of grain there.

I normally shoot at the maximum aperture.

Do you think it may be the age or is it a normal characteristic? I can't really remember if it used to be that grainy before... i don't think so. It doesnt matter if i'm using the 24P mode or not.

Have you experienced excessive grain with this camera ? have any idea of what could it be?

Please post.

Thanks

thanks once again, david

Hi.

I would like to know more about 3-PERF.

Do you have any websites to recommend? Or can you post a simple explanation. I have an idea of what it is, but would like to hear more about what´s possible and what is not possible with 3 perf. What may change during the processes (photochemical and electronic).

Have you shot with 3-perf cameras?

I know there are cameras like these here (in Brazil) but very few information about the advantages and risks (if any).

Thanks.

David, did you test in 16 or 35mm?

I´ll test again as soon as i have the chance.

And I hope the labs here are as precise as in Los Angeles.

17 has very little grain compared to 18.

and very good contrast too. probably a little less than 74.

honestly I don´t think it cuts very well with 18, could be better.

attention

this honda 4500 generator does not hold that much power. don´t count on it.

a safe margin is 3800.

Hi.

If I had to shoot a scene using the 60i mode on the ag-dvx100 and wanted it on slow motion (in post), would it help to use a shutter speed faster than 1/60? Would it preserve the quality better?

Thanks

do you guys use those photometric tables of the lights to know what exposure you will get based on the footcandles ?

as far as I know, the camera always operates DF timecode when you shoot 24P.

not NDF

and you can´t use the GAIN when you shoot 24P.

hi.

i have some questions regarding the use of hmi lights with video and overhead´s accessories.

I´m shooting with a Panasonic ag-dvx100 on the 24P mode (1/48) shutter. the camera records at 29.97 on the tape.

If I use a hmi par light is there the possibility of flickering? (it will be powered by an old generator - probably has no crystal control)

Since the hmi light is 5500K, If I want a bluish light, I believe I should white balance the camera for 3200K, is that correct?

If I end up using a 5000w tungsten fresnel with CTB, will this gel take up such heat? How much heat can CTBs and CTOs take by the way?

+

the Arri HMI par light that I want to get comes with 5 different lenses.

What is the difference between them? What exactly do they change? My beam angle? What else?

Now regarding the use of overheads.

They come with different types of cloths. What´s the difference between them?

LAST QUESTION: I believe that the number of watts indicated with the lights refers to the consumpsion of power.

But why is a 1.2K HMI light stronger (in terms of footcandles) than a 1K tungsten one?

Thanks.

Hi.

The previous forum about filters made me very excited about getting some new filters for my video camera! The only one that I have is a Hoya UV Haze 1A. I leave it in the camera for protection.

I´m about to purchase some filters on B&H and would like to hear some opinions about brands. My camera is a panasonic ag-dvx100 with a 72mm opening.

I´m interested in filters such as linear polarizers and soft-fxs.

Does the soft-fx make the difference in video CUs too?

They have some good prices for Hoyas and Tiffens. But are they good?

Thanks

yes

I can only remember of one time when I felt the difference.

In "The Terminal" for the Catharine Zeta Jones´ CUs.

Watching on the big screen, of course.

Thanks.