rohtash chandel

Or split the difference and rate it at 400 ASA...

how do we do that?

i have never shot at any other shutter angle other than 180 deg, so i am interested in finding out the compensation when shooting at different shutter angles.

 

when you shoot at:

90 deg is it 1 stop of compensation?

45 deg is 2 stops of compensation?

is this right?

 

regards

ken minehan

the best way to understand this is to understand exposure time

exposure time can be calculated by dividing shutter opening with the product of 360 and fps you are shooting at

thus

exposure time= shutter opening/ 360 x1/ fps

thus when you shoot with 180 shutter opening at 24fps you get

exposure time = 180/360X1/24

=1/2x1/24

=1/48

so now when you close your shutter to have 90 degree opening you get

exposure time = 90/360x1/24

= 1/4x1/24

= 1/96

which is half the time a frame gets at 180 degree

so in oder to make it normal exposure, film would require double amount of light thn it requires with 180 degree opening

2x1/96=1/48

thus you need to give one stop compensation; as it doubles the amount of light reaching the film

hope it helps

thanks for clearing that up. I'll keep it in the freezer, its really old, and is a medium speed, 320t.

And might be a few months before I use it.

if stock is fairly old i think you should do some tests before you put it into a freezer, it will give you an idea about the condition stock is in.

Hi,

 

I have looked at the graph you mentioned (think it was the one). It basically shows reaction of film(darkening) when exposed to light. Exposure is expressed in T-stops not in logH as usual and 18% gray card normal exposure is considered 0 (card measured by spotmeter and the value considered the right exposure). So if you want to move within the dynamic range of the film the luminance of the set should not exceed 2 1/3 over and 2 2/3 under when measured with your spotmeter. I think that is the simple way to understand the graph. And alsoo, maybe you just misunderstood, 2 1/3 is two and a third T-stop not seven.

Hope I helped you a bit

oopps yes i actually misunderstood it :( , i thought it was 21/3, seven stops over really made me feel scary ,i thought i have missed somthing critical, :rolleyes: thanks for replying,

the dop for whom i am doing lighting continuty was surprised when i asked him about the same but he was quick to rectify it,

while looking at the technical data of kodak vision2 5201 i came across the the term characterstic camera stop curve, if anybody could please elaborate it , i am new to cinematography and have never come across it, and find it little complicated, below i have copied the exact article which is confusing; as it says of under and over exposure in fraction. what does it mean?, it states 21/3 stops accordingly we get 7 stops which is little wierd,i have never heard of 7 stops higher further it says anything over is over exposure lattitude, very confusing :blink: :blink: :blink:

On the Characteristic-Camera Stop curve, the center point ("0") on the x-axis corresponds to a normal exposure of an 18-percent gray card in the red, green, and blue layers of this film. A white card is 2 1/3 stops higher than normal exposure. Anything more is overexposure latitude. A 3-percent black card is 2 2/3 stops below normal exposure. Anything less is underexposure latitude. it before

You agree then that brand new is better?

 

Also, although we usually don't tell non-Americans this, if you look at the structure of the game in mathematical

terms the game clearly lays out a unified field theory that explains everything.

 

 

Good luck with your productions, Sivanesan.

YEAH I GUESS WHEN CRICKET WAS INTRODUCED TO SOME GENIUS WHO COULD NOT DEAL WITH THE BOUNCE, DECIDED TO PLAY IT DIFFERENTLY AND THUS BASEBALL WAS BORN........... I GUESS AS FAR AS MATHEMATICAL CACULATIONS ARE CONCERND DUDE JUST TRYN DEAL WITH THE BOUNCE AND THE MOVEMENT OFF THE WICKET AND FROM THE WICKET........SOUNDING COMLICATED!!!!!!!!THIS IS JUST THE BEGINING

Improved???

 

I don't think so...

when in doubt .................KISS ;) Keep It Simple Stupid!!!!!!!!!!!

i have doubts about flickering effect for a projection screen as it is more of a sudden change in colour and intensity of light

we recently did a shoot which required the same effect, we bounced two pars of the 6' by 4' both placed at two ends and had two guys operating colourd gels in front of the lights(blue, green cosmetic peach cosmetic and occasional white light), the change of colours and intesity on the face of the actors who were suppose to be sitting in front of projection screen was looking perfect . we were shooting against the projector it was mendatory to have the shaft created by the projector, so we placed a 2k with a snoot on it to get the effet it was looking just fine although there was a problem regarding the colour and intensity of light from the projector as it has to change in relation to the colour and the intensity of the light on actors face, which could be easily done later on smoke

ya i guess right thing to do in time of crises is to follow your instincts,

3 over you can still pull back and get a good image, but 4 under you really have VERY little information to play with. 4 stops underexposed is usually quite black. But if we're talking about intercuttability latitude, your margin of error is even tighter.

 

Subjectively, from my POV, there's a range of 1/2 under to 2 over that's still intercuttable when timed back to normal. More than 1/2 under and the grain is intolerable when timed back, by my standards.

hey jonathan could you please eloborate intercuttability latitude, never heard of it :huh:

Yes, it's a bit confusing whether to call 3-perf Full Aperture "3-perf Super-35" or if the label "Super-35" only applies to 4-perf.

first of all i would like to say hi to you as i am interacting with you for first time, i hope you wont mind me asking a foolish question

what are the consideration one keeps in mind while opting for super 35(4perf), super35(3 perf) and 35 anamorphic;apart from aspect ratio what are the other factors

:blink:

i am confused about what source it would be when you are in a forest ideally it should be moon light yet i have seen few films that have scenes shot in white light (jeeper creepers, monster), you key the actor with some practical but what about the background where does the motivation comes from,

all the time working as an apprentice on the sets i have learned that " it's not important what you light but what you dont"

flagging deffinately helps, as taking off unwanted lights make your frame look good

once on an outdoor location shooting against the sun we used negative fill by placing 12'by 12' frames with black cloth attached to take off sky bounce to get rid of unwanted light(clouse ups and mid shots)

hey Rupe,

pics look great, good job man, next time whenever you have chance to conduct a test, try out creating a moon light streak,

hey patric sorry to drift you from the topic , as you have been using panasonic hvx200,i would like to ask few things about the camera, recently we shot a travel show on the hvx 200 and we were shooting on dvpro format,gamma was set as cine, as i was curious about p2 card i shot some footage on it and i was amazed with results; contrast was amazing and even colors were more vivid

i always wanted to shoot on p2 , but these guys had some aprehensions about that,

is shooting on p2 card such a complicated process?

I had some free time and I made this quiz up. It has 10 questions, increasing in difficulty, about cinematography. In the end you get one of 5 ratings of how knowledgeable of a cinematographer you are. Don't try to cheat because each question has a 30 second time limit.

 

Fixed Quiz

 

Post your results and enjoy.

 

Zamir Merali

hi zamir,