Dominic Cochran

Remember when Mann was?

Thanks John!

So I've been shooting green screen for a long time, but I normally light the screen and the talent with the same color temperature lamps for obvious reasons. The one time I've used the Kino Supergreen lamps I lit the foreground talent with tungsten which is what the Kino site seems to recommend. Good results all around. My question is that on this particular project I'd like to use the Kino Green lamps on the screen as usual but light the talent with daylight fixtures. Has anyone done this? Is the green spike in the Kino Green lamps wide-spectrum enough to read as green when the camera is white balanced either way?

Make sure they have Edison plugs. It's easy to re-wire them if not, but you might want to ask!

Referring to these effects as step and skip printing is the best way to communicate their video equivalent, as opposed to randomly inventing a term that doesn't communicate anything in the interest of appeasing those who have no interest in the answer. From a fellow film"folk" who also loves shooting digital when the project calls for it.

System>Setup>Preferences>Keymap>User Keys>Set Function I would recommend using User Key 1 which is the top button of the two on the side above the side record button. It defaults to Auto WB which I'm assuming you'll never use. You can also disable that side record button with the same menu tree.

Of course as with any format, this can be avoided with proper fill and filtration. I've also had good results rating at 250 and using MacGregor's look profile found on the other site hand in hand with false color.

Whoever did the text in the youtube video could use an After Effects workshop.

Send it! Thanks Mike

Mike, are you in Michigan? If so, e-mail me your number at info@ahptic.com with 1st AC in the subject line. I'm asking because I think Chad is in MI right? Anyway, if you are we'd like to add you to our call list. Glad the shoot went well! Dominic

You can shoot 4K RC36 on the CF cards, but only in 2:1, not 16:9 Also, on booting, the first screen that comes up shows the boot software build(guessing it's kind of like BIOS? I don't really know), not the actual camera firmware build. That will come up on the next screen, right before initialization is complete. And yes, the fan settings are accessible in the menus(under system:setup:maintenance), there a few different ones to choose from depending on conditions. All of this information is in the operations manual, which is basically required reading if you've never done a RED job before. Especially if you don't have a RED tech on set, at the very least your AC could have read it and avoided all this bafflement. Glad to hear you plowed through the day somehow! :-) -edited to correct menu path for fan settings-

I should add that the framing isn't bad, I actually kind of like it. It's just challenging since 80% of your frame is HOT sky, so my suggestion would be the easy way out. If you want to keep that framing the same and avoid your problem, you're going to need a LOT of light on your subject and perhaps shoot at a different time of day.

Is there a reason story-wise to show so much sky? Why couldn't you raise the camera up a little higher and get further back with a longer lens? You're on the right track though using that pola, it's definitely a good start. If you could reframe AND take Chris' suggestion and get some light on the talent you should be good.

It would be helpful to know if you're talking Day Int or Night Int here. I mean, even if you aren't motivating an interior source or daylight through a window, it would help to know what scene you're cutting from, or what you're cutting to after.

They do understand this. The camera is a tank. Just use the 400' mags like you normally would on a car mount. Oops, I mean CF cards(same recording time).