Phil Gerke

Ok, ok. I just wanted to confirm, Paul had refered to the "negative" and I had assumed that meant "camera original" Scary stuff, processing is. Are studios generally cool with these kind of techniques? It seems to be more prevelent lately, but then again maybe I am just seeing more DI work. Basically all the power is in the camera original. So the purpose of the interpositve or internegative is simply for making prints from? Are there always both or is it either/or depending on if you shot negative or reversal? Surely you don't make your prints from the camera original? Thanks again, this is great. Did not catch you post until after mine. So yes IP's and IN's are basically your dupe master. Again, I am still unclear if in normal procedure both IP and IN are created. Is it like this; Camera original (negative) to IP to IN to prints? Now that I think about it, it has to go this way right? You can't create a negative print from another negative print can you? There has to be a positive in there right? Again, gen loss? Thanks!!!

Thanks David. That makes sense. Of course now that I think about it, I have been on 1080 24p sets.

I want to be clear, when we talk about the negative we are talking about the film exposed in the camera correct? That being so, is'nt it potentially risky to be doing any atypical processing when working with the negative? Because if you screw it up, its screwed forever right? I understand the pushing and pulling are pretty standard business, but skip bleach and such things at this step is a pretty bold action it seems. Isn't this why internegative/positives are around? As kind of a step of undo if something gets botched. Granted $$$ probably adds up with all the prints being made, and is generation loss an issue as well? Thanks again for helping me out with this. I appreciate the "conversation" hopefully its not too remedial.

Hi all, This is a new area for me and though I have learned much from lurking these threads, one thing I can't figure out is where exactly the push or pull occurs. I understand that in a push situation you rate your film faster than it is, correct? If I was going to push an ISO 250 I would shoot at EI 500. Essentially underexposing a stop, then in the development it then gets pushed for that lost stop.(I realize that you could push any film regardless of how it was exposed.) So at what step does the push happen? Is it in the processing of the original film, or do you push the internegative, interpostive? Or does it happen for the final print? And is it a chemical process or is it an exposure technique? Meaning do you push it with how long you use certain chemicals or do you push how long the film gets flashed with light? Does that makes sense? I assume the oposite is true for a pull process. In a pull process the DP is overexposing, desiring a denser negative right? This is more or less an aesthic or philosophy matter right? Hopefully this all makes sense. I guess there are a couple questions in there I apologize if this has been covered way too much, I just have a few gaps in my understanding that I can't quite nail down. I appreciate the help. Thanks a lot! Phil Gerke

Maybe this should be in a different thread but it seems pertinent. Why is it that 720 gets to do progressive while 1080 is interlaced? David you mentioned that we should start seeing cameras that will do 1080p, why has it taken so long? Is it really that big of a deal? Correct me if I am wrong, but this is how I understand it. 720 can do P or I 1080 is I only at this point.

OK, here is how it played out. First off, tight quarters. Had to get creative to get some room. Basically shooting diagonally in the living room. I set up the subjects to be looking screen left. I keyed just left of the interviewer with a 650 softbox at about medium/high height. For fill I leaned a 4x4 white foam core against the couch. Due to room I could only setup a single 150 for a rim, which only really did anything for the person on the left which actually worked out fine as she, the daughter had dark hair and the mother had short blond hair and the lack of a kicker/rim was not a problem. For the back ground I basicaly relied on spill from the key, but added a little something with a 350 fresnel with 1/2 CTB as a very subtle slash against the fireplace which also yielded a nice little "glare" which needed to be tamed just a bit, but looked nice. As far as whit balance goes, I ended up doing a custom, which usually I am not a big fan of. Basically Tungsten was too cool for me and was not reproducing the colors in a way that I liked. Daylight preset was obviously too warm, but not too bad. What I settled on was a custom white balance on white card held in front of the talent, but I shot through 1/4 CTB, which worked perfectly. Still a littel confused why my tungsten preset was so cool. Probably just taste really. The camera was setup fine. I was going to go with some CTO on the key, but my tweaking time was dwindling so the CTB trick was how I proceeded. Issues: Well space was tight, which is never awesome. I had to frame tighter on the subjects than I would like to have as the background quickly looked bad when I widened out. Also, related I think and the fact that there were two people, I was not quite happy with how the shot composed. With headroom that I liked I did not like how far down I was seeing, just seeing the top of the subjects laps and crossed legs bugged me, but if I tilted up the head room was no good. I was never really happy with the seperation from the background, not much I could do, but 5 more feet would have been great. Our talent were good, obviously not mother and daughter, but that is not on me. Also one was a sloucher, but the "brass" are not concerned. I'll do my best to get a still pulled from the video. Might be a while as there is another project that gets editing priority. Thanks a lot for everyones feedback and comments, I'll never be done learning about this. Phil Gerke

Thanks for the advise guys, anytime somebody can give me something new to think about it helps me quite a bit. Yeah, the grip truck may be excessive, but I'll have it. Thanks for the tip on the Joker, I'll just leave it on the truck. If I want to work in a window I've got the CTO for it. Actually I have used straw in place of O for window treatments and sometimes I like it quite a bit. Tungsten balance on the camera. Anybody else do that? Turns out I have worked with both the talent before. Its a faux-interview, the mother is an actor and the daughter is basically just portraying herself. Its for a nutritional program. I like the idea of a lower key for the mother, and i think it will be helpful in this case. What are your opinions on gelling the hair/back light? I see a lot of straw and yellow being used, but I was thinking about going cooler rather than warmer. Any thoughts on this? I'll make the decision once I see the location but I'll have the oportunity to futz around on this shoot, so I'd like to experiment a little I think. I'll definately share my experiance and do my best to get some still when its all said and done. Thanks again. Phil

I'll be shooting a mother and daughter interview this weekend and would love to hear any suggestions or hints on lighting for a two shot interview. It will be in their home, which I get to scout in the next couple days. I should have the flexibility to move stuff around in the house which will help for composition but I have never had to light a situation like this before. I'll have a smaller grip truck at my disposal as well as a fair amount lighting. Kino's, Joker 800, plenty of tungsten. How do I avoid the Key leaving the other person too dark? Can a single beadboard fill both faces? Does it make sense for a rim or kicker to be stronger on one person than the other? Any help would be great, Thanks a lot! Phil Gerke

Great link, thanks a lot. I'll be speaking with the post house soon, I have a feeling it may be a bit of a pain. We'll see. Thanks again.

Hi everybody, This is my first post here so thanks in advance, been lurking a bit and still have some questions. I'll be planning a shoot in the near future for some short commercial spots, Director wants to shoot slo mo stuff. So Varicam naturally. Then the idea of ramping the frame rate came up, and I know the Varicam can do this, but I cannot figure how one goes about doing it. Also, how do you adjust or compensate for the exposure differences that will occur when changing the frame rate on the fly? If we are ramping up shouldn't there be an iris or shutter speed adjustment to be made in order to maintain the same exposure? Or, because the camera is alway operating at 60fps do I really even need to worry? My other question is concerning editing in AVID. Now I am not sure, yet, which system this project will post on, but should I be concerned about the overcranked footage? I know there is a frame rate converter for FCP but what about AVID? I would hate to have to rent the hardware converter as its a bit exspensive. Or is AVID hip to the flagged footage and knows what to do? Hopefully my questions make sense. Any help or guidance would be greatly appreciated. Thanks a lot, Phil