Dominic Cochran

"... "Flesh coloured" to mean "Brown" ..."

 

Somebody saw the new Fincher-Trailer? ;-) Remember when Fincher was once visually/ technical top-notch, just like Mann, or Coppola :(

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!

Again, in all courtesy, we film folks never use video terms to speak about something in the trade. Is it possible to avoid step printing when you talk about, let's say: a hiccup effect ?

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.

I'm a first and my DP likes to switch between the spot meter and the histogram. Can I set this to a hotkey? Actually a guide on setting hotkeys (if you can do this) would be great.

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.

Hi,

 

With RED the sky often goes grey/white due to overload in bright conditions.

 

Stephen

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.

Dominic,

 

I'm actually living near Akron, Ohio right now. I was referred to Chad by a friend of the producer's and Chad liked my references.

 

I love to travel, though, so I wouldn't think twice about driving my ol' Chevy to Michigan, even for day jobs (my personal best is 14 hours roundtrip for one night's work!).

 

If you'd still like my info, I'd be more than happy to send it to you.

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.

Abuse?!? It's called production. RED should understand this term like real production camera manufactures do. We don't work in a vacuum or a nice R&D lab room.

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).

When you say spec can I assume you mean commercial work?

If so, then

Step 1: Turn off the overheads

Step 2: Proceed

Narrative would be the same a little less than half the time.

Hi Tom,

 

It's a render, RED have been rather slow in delivering high quality motion picture glass, The Red Primes are yet to be released & the 18-85 is in rather short supply. The 18-50 whilst sharp had mechanical issues which don't seem have been addressed.

 

Stephen

The short supply of the 18-85 isn't really any worse than ordering new Cookes at this point. They're both several months out. Sucks because I've heard surprisingly(after the 18-50 mechanical problems) good things about the Red 4:1, I'd like to test it on my Red and on film.

Yes this can be done with parascopic lens systems for shooting macro in cinema. Such as the Frazier lens system.

 

I'm not disagreeing with you that Cine lenses are better made for pulling focus, but I have to say that from what I remember the Frazier system has a max aperture of something like 5.6-8.0 and is pretty widely known to be a re-housed and re-purposed(and remarkably well done) still lens system.

RED should perform fine if it's nicely lit/exposed/bounced in the snow especially since snow scenes are inherently low contrast. Personally I would be using a lot of grads and negative fill to introduce a bit of contrast, but even then it certainly shouldn't be anything RED couldn't handle.

Crazy they left Caleb Deschanel off when he continues to work in both capacities with success.

Lens is now on ebay with much lower Buy It Now price and new photos:

http://cgi.ebay.com/Mint-Cooke-18-100-T3-0...id=p3286.c0.m14

I'm selling a Cooke 18-100 T3.0 in beautiful condition. This lens actually has never been used since I got it from Stuart at Focus Optics (who cleaned and lubricated it before selling it to me).

I put it up on a projector at Stratton Camera and it covered Super 35 nicely through the zoom range, held focus beautifully, and had no CA.

This lens is legendary, and we're only selling it because we're using primes.

Comes with A&J style Hard Case with laser-cut foam, zoom motor bracketry, lens support, and rear filter holder.

$13,500

PM here or e-mail us at info@ahptic.com

I've done it before with a homemade Cinefoil snoot on a tweenie or baby on a dimmer. If you wrap it lengthwise you can get a nice long snoot for a hard edge, or crinkle the front edge of the black-wrap to break it up. For a softer edge you can put some opal on the end.

We bought this a while ago and never used it. We did however machine a custom shim to make it work with our F350, so it should work with most full size cameras.

 

Check it out:

 

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...s=tab%3DSelling

SOLD, thanks!

We bought this a while ago and never used it. We did however machine a custom shim to make it work with our F350, so it should work with most full size cameras.

Check it out:

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...s=tab%3DSelling