Kevin Harrington

But the hard scene that we spent nearly two full days on was a suspense scene inside the house with no lights on, which was particularly hard because the main corridor in the house was windowless and covered with dark brown wallpaper.

David, how much control do you usually have over production design? Obviously you collaborate with the PD, but in a situation where it makes it more challenging to light the space, especially in this case and for moody horror, what's the tipping point between "that will look cool" and "we need to be able to do this practically"? Kudos for making it work though. Thanks for the updates, and have fun!

They will basically the same, except the H1 will have 3x the resolution and more picture adjustments.

 

- In 1080 60i the H1 basically slaughters the XL2 (especially when monitoring HDSDI out)

- the H1 has a real wide angle option in the 6x. Makes the 3x wide on the XL2 look banana pudding soft

 

We had two XL2s which we put hundreds of hours on...great little cameras. We have two H1s and a A1

now and we are even more pleased. THe H1s are worth it just for effects shots if nothing else.

I own both and would never go back to the XL2. Something about the XL2's look is extremely telling that that was the camera used, which is an aesthetic you may want to go for. For me, the H1 is far more versatile, and if I have to shoot SD, I pick up the H1.

As far as comparing the two, the H1 is absolutely worth the extra dough for many reasons, least of all the image. No contest.

Thanks Kevin. To the left of the screen was a 6x6 ultra bounce with 2 mini 9 light maxi's w/ 1/2 CTS and Chocolate on a flicker generator. As the shot starts on the fire I have a grip flopping the light coming from the bounce off the actors to hide the source and just had the fire lighting them, as the camera travels away from the fire he slowly removes the flop. For the rest of the coverage I used a 6x6 ultra bounce with the two mini9's and added a 6x6 bleach muslin frame in front; I moved it in to compensate for the stop loss.

Thanks for the response Chase. I'm doing a similar sequence in a few weeks, but in a smaller town without 6X6 ultra bounces. They seem to have every other overhead available (from silver lame to 1/2 soft frost). Is there anything close to an ultra bounce that would help me achieve the incredibly natural lighting you got in your fire scene?

And is there a reason why you didn't backlight any of the talent? I actually like the look better, because I was racking my brain to come up with motivated backlight to pop them out from the BG, but all I could up with is the highly overused moonlight CTB on an HMI or the like. Thanks for the responses, the reel was seriously great.

Loved your reel. I gotta question about your bonfire scene, because it looks so natural. Was that just available light from the fire or did you punch it up at all?