David McLeavy

I have the VFM-055A and I’m very pleased with it. I find it very easy to pull focus and to judge color on it. It’s not super bright but it’s plenty visible in daylight with a hood.

David, I double checked and you’re right. The 23.976 is the lowest pre-made pre-set setting. If you want lower you have to add a preset and then dial it in. You learn something every day.

I just checked on ours and it seems that 23.976 is the minimum frame rate. If all you want is motion blur, you could play with the shutter settings and adjust frame rate in post.

You have to make it in Frame Line Composer and then load it into the camera via USB. https://www.arri.com/en/learn-help/learn-help-camera-system/tools/frame-line-composer

Documentaries dont require actors.

Thats an insane deal if its in good shape.

The first person I added was a great 1st AC I could trust, depending to a degree on what kind of setup youre generally shooting on.

Thanks for the advice, everyone!

Hello, everyone. We will need to rig the camera to a ladder top on an upcoming shoot and I wanted to get some input as to the best clamps to use. We have the board and mount already. Any pointers would be appreciated. Thanks in advance!

This interview with the cinematographer from the time of the first season only mentions the Alexa. It does go into some depth about how he achieved the look of the show. https://www.creativeplanetnetwork.com/news-features/cold-war-cinematography-concealing-and-revealing-fx-s-spy-drama-americans-423138

Could you paint out the AV equipment? Or is that beyond the scope of VFX you have for the scene? Depending on your camera moves that wouldnt be too difficult to do given the room layout.

Are you seeing more noise in the blacks than in the image overall? The Alexa has some noise throughout the image but its generally a pleasing texture. Ive never seen heightened noise in the shadows at 800.

You can see exactly how that one shot was lit at about 1:15 on this video. https://m.youtube.com/watch?v=VOs4TWaZwJ0 Theres probably a better quality version out there. The Blu-ray of the Social Network has a ton of great extras.

Ah. Good detail to know. Thanks!

Yes it will flicker at that shutter speed and frame rate because the light dims slightly every cycle. You need at least a 2K tungsten to be bright enough that the slight dimming doesn’t read on camera. The fastest frame rate I’ve managed to shoot without any flicker with smaller lights is 120fps with an appropriate shutter speed.

Hello everyone, I am going to be lighting a booth area beside a large window. The shoot will be taking place over several hours so I'm thinking to fake the ambient light coming in through the window for consistency. A couple of questions. First, I have no large lights to work with. Would bouncing three 1k's off of a 12x with ultra bounce outside the window seem to be a decent way to replicate indirect sunlight? If not, any the suggestions? I also have a couple of flathead 80's but I was thinking of using those to fill out the room a bit. For a scene with actors inside and outside (looking out the window) at once, any suggestions for getting everything in exposure with a fairly small light kit? Nd on the window maybe (it's a large area)? Thanks in advance!

Hello all. I am looking for the best method to create a decently wide heat bluring effect like you'd see over hot pavement or something similar. What suggestions would you make to best achieve this? I remember reading about a standard tool for this but I can't recall what it was. Thanks in advance! David

Gotcha, I misunderstood. In that case, the only things I've seen that were shot on Red on TV was a spot for that video game Condemned and I THINK a music video (only because they left the black sun effect in there).

Yep it was shot on 15 apparently. Keith said he hadn't seen ANY Red footage shot by a real cinematographer yet.

http://www.apple.com/trailers/independent/knowing/hd/ I've shot two spots on build 16 and the noise does seem reduced, or at least different in such a way that it LOOKS reduced. I'm happy with it so far.

Hey all. I'm going to be shooting a spot soon where I will have to light a vintage car inside a dealership. I'd love to get that nice combination of flats and highlights out of my soft light kit. Any pointers or links that might aid my endeavor? I have a general idea of how I might go about it but I'd love to hear from more experienced folks out there. Thanks, Dave

I was planning more along the lines of adding some fill here and there for an indoor scene mixed with sunlight coming in through a window.

Okay, this feels lame to ask but I want to double check since I dont know much about gels. Is this all I would need to daylight balance a couple of Arri 1k tungsten kits: http://www.bhphotovideo.com/c/product/4411...ilter_Full.html And is that a good price for a roll? Advice welcomed! Thanks, Dave

Is there something I'm missing that it's $20 and up for a roll from a production supply place and $4 a roll from an arts and crafts place? Are there different grades of mylar?

Oops.... Grip. I guess it's attached to a board of some kind? Or is it stiff enough to just wobble on its own? Thanks Frank!