mmonte000
-
Posts
34 -
Joined
-
Last visited
Posts posted by mmonte000
-
-
No, you can't completely trust the monitor for overexposure, more just for for ratios. It's in the menu under VF something or other, Zebra 1 and Zebra 2. If you have a waveform monitor, that would be ideal, because it would show you the full range. On a feature I'd say it's a must-have. I tend to underexpose everything just a tad with this camera, and I use Filmlike2 gamma most of the time.
It's a very low budget movie, and to tell you the truth I have never used one so I wouldn't know hoe to read it..
-
Okay, thanks. Where on the camera am I able to change the IRE? Is it good to just go by the monitor?
-
I will be shooting with the SDX-900 all October for a feature. I was wondering if o get the right exposure you set the iris to zebras and stop down till they disappear (At least for the subject) is this right or is there a better way to get correct exposure? Also what is the range that this camera can obtain detail I've heard some people say 5 stops and others 8. Some of the shots I would like a 1:4 or 1:6 ratio.
Also, if I want slow motion or time-lapse, can I change the shutter speed like I would with film? And when it plays back will it automatically do it or will I have to change it in post?
-
I am going to buy the HDR-FX1 in a couple months but I still have a few questions. First of all when you "down convert" Are you converting the video from 1080i to 720 or are you just cropping off the edges of the frame? Once converted are you able to up-convert it without recapturing footage? And does the down conversion still look better than something like the pd170 for example? Is it possible, however unlikely, for me to transfer anything shot on the fx1 to film? Also, is the quality in DV mode better than the quality with the dvx100a?
Sorry for all the questions
-Chris Reilly
-
-
-
I am going to buy the HDR-FX1 in a couple months but I still have a few questions. First of all when you "down convert" Are you converting the video from 1080i to 720 or are you just cropping off the edges of the frame? Once converted are you able to up-convert it without recapturing footage? And does the down conversion still look better than something like the pd170 for example? Is it possible, however unlikely, for me to transfer anything shot on the fx1 to film? Also, is the quality in DV mode better than the quality with the dvx100a?
Sorry for all the questions
-Chris Reilly
-
Ya, but what if the lights don't fit. Also, are there any movies or sites I can look at that had this similar setup?
Make friends with the maintence guy from the Supermarket. Tell him you need some of the same fluor. bulbs they use in their store. Then just re-lamp your Kino's with the store's lamps.That eliminates the guesswork of what color temp. you're dealing with.
-
It's not really important what light you use, HMI, Kino, Tungsten. What is important is that you match the color of your lights to the super markets and ambient daylight coming in. Most fluorescents require full green correction on all lights. Cool whites require daylight lighting sources.
Luckly we will be shooting at night. I do want some moonlight possibly shooting through the windows. Is there any sited with lighting setups for supermarkets?
-
I'm generally happier if I can get away with lighting a face from one side with a big soft light and no fill... Few things are as beautiful as a face lit by a window, ala Vermeer. I think a lot of us would love to just use one light coming from the perfect angle for a scene.
One type of light I wish were easier to replicate is dappled sunlight, where the sun comes through high leafy tree branches becoming a pattern of out-of-focus circles dancing about. I love light that is moving in some way, or changing.
I totally agree with this. Lighting doesn't need to be complicated, some of the most beatiful shots are made from one source (i.e. candle, fireplace, window, etc.).
I especially love the film noir look with dark deep shadows, and I dislike flat tv "sitcom" lighting.
-
I will be shooting in a supermarket soon and am a little afraid to use Kino flo's seeing that i've never used them before. Is there really a quality difference between shooting with Kino Flos's and just using diffused fresnel lamps? Also, how do I know what types of Kino Flo's to get. Are there Kino Flos that are Tungsten and daylight balanced, or are there different types with different temperature ranges? Also, should I have the Kino Flo's/lamps up high to show that the light is coming from above, or should I just fill the whole scene with light so you can't tell where the light is coming from?
Thanks for your answers...
Chris Reilly
-
I've never used the sdx-900, what modes does it have, and what is best for low light? and could those settings also be used for outdoor scenes so they match correctly?
-
I will be shooting with an sdx-900 in July and will be shooting inside a supermarket with flourescent lights. I've never done this before, so I need to know what the best way to account for the green hue that flourescent lights give off from the house lights, and also if I should use Kino Flos with some kind of green gel so I could white balance correctly. If anone has done this before please help.
Thanks.
p.s. the supermarket is fairly dark, does anyone know how well the sdx-900 works in darker situations?
-
Awesome, thanks a lot for your tips. I will definitely consider all of your input.
-
Can someone please look at my website, reel, and resume and tell me what you think. it's at www.filmreilly.com Thanks a lot.
-Chris
-
Okay, thanks. The ASC won't mind if I email them? they seem like they wouldn't even want to look at a film school grad lol.
-
Hey, I'm looking for a cinematographer who has been in the industry for a while to intern under or be an assistant to. I would really like to learn more about cinematography. I've done a few short films but I need more experience if I really want to make it in the industry. I wouldn't get in the way of the DP, all I would like to do is learn from the best. I am graduating from Brooks Institue in August so I can intern part-time until then, or Full-time after. If you would like to see my reel/resume I can email it or send it to you through the mail. My email id film_reilly@yahoo.com
Thanks
-Chris Reilly
-
Hey, I'm looking for a cinematographer who has been in the industry for a while to intern under or be an assistant to. I would really like to learn more about cinematography. I've done a few short films but I need more experience if I really want to make it in the industry. I wouldn't get in the way of the DP, all I would like to do is learn from the best. I am graduating from Brooks Institue in August so I can intern part-time until then, or Full-time after. If you would like to see my reel/resume I can email it or send it to you through the mail. My email id film_reilly@yahoo.com
Thanks
-Chris Reilly
-
Also, if you meter the fill as the key your highlights will get a bit overexposed, especially if you have a dramatic ratio 4:1 or 5:1. But it looks awesome, I've used it on a couple of my short films.
-
That's what I thought, because I've shot with practical flourescents befor and got the same typ of green, but I didn't think anyone would want to risk that.
-
Great thanks a lot
-
what's a CC chart? and are there lens charts that tell you the DOF for each type of lens?
-
Film Grain
in 16mm
what's the difference between Vision 2 film and the regular film?
-
Marketting yourself
in Jobs, Resumes, and Reels
Posted
Hey everyone. I just dp'd a feature, most of the scenes will be outstanding for my reel, but I don't know how I should market myself. Should I send my reel to a bunch of DP's asking if the need cameramen or a bunch of directors who may need DP's? How do I find these people, and what would be the best way to contact them? Email? Phone? Mail? How do you guys market yourselves?
The feature I just shot (a horror/drama/comedy) won't even be finished until a year from now. Is it okay to still say I shot a feature?
-Chris Reilly (DP, Camera Operator)