Daniel Russel

Totally spot on!

Thanks

As a gaffer in New England (about which Mark Twain famously quipped “If you don’t like the weather, just wait five minutes and it will change”) I don’t find boards to be very effective. The problem is that boards require the sun, and where I work the sun is unpredictable. Not only does it move, but weather moves in front of it. They are great when the sun is out, but as soon as a cloud moves in there is no way you are going to be able to cut footage together.

 

I’ve learned the hard way that it is not safe to go outside without a lighting package – especially if we are shooting a dramatic scene with a lot of coverage. But, you don’t need a very large lighting package. If you plan your shots properly, you can get away with nothing more than a 4k Par and 1.2 Par which you can run on one of the new 7500W Honda EU6500is/Transformer gen-sets that provides a single 60Amps/120V circuit.

 

The approach that I find works best is to shoot the establishing master shot when the sun is out and its’ position offers the best modeling or effect. I then shoot the coverage under a full silk and/or when the sun has moved into a backlight position. Shooting under a silk offers a number of advantages. If the sun pops in and out, the silk takes the directionality out of the sun and knocks down its’ level by two and half stops. Now a smaller HMI light will model your talent to mimic the establishing shot - where without the silk you would need an 18k. The ideal situation is to wait to shoot the coverage until the sun has moved around to a back light position. When in this position, you are shooting into the shadowed side of the talent so small lights, like 2.5/4ks, will have even more of a modeling effect. Shooting into talents' down side under a silk, I find that a 4k Par through a diffusion frame is a sufficient key source for a two shot. And, as the sun goes in and out of clouds, a 1.2 kw is usually sufficient to bring back the edge of the sun through the silk that was lost.

 

With the sun in a back light position, your background is also back-lit so the discrepancy in exposure between when the sun is out and behind cloud cover is not that great and so is hardly noticeable. Also, when your background is back-lit it does not over expose because of the discrepancy in levels under the silk and outside the silk – it helps to strike a good balance. Also, your background looks better because it is not flatly lit, but has some contrast. Finally, with the sun in a backlight position, when it comes out, the shadows of the silk frame and stands are thrown forward, which enables you to frame wider before picking up the shadow of the hardware.

 

 

The production still above is a good example of this approach. As you can see from the umbrellas covering some of the ballasts it has been raining. But there is blue sky, so obviously they took this approach to maintain continuity between when it was overcast and raining and when the sun came out. Having made the decision to start under a silk with lights means that their coverage will cut together seamlessly. Had they used boards, there would be a noticeable difference between footage shot when the sun was out and when it was under cloud cover.

 

Eileen Ryan, Boston, Gaffer

Use them in the same way as you use your bounce boards and notice the differences between both...

Then you have hard silver, mirrors, dappled silver, shiny (insulation) foam boards and even sun covers for car windscreens..

And then if you're lighting actors/talent, you have skin tone to take into consideration..

Like with all lighting, if you have the biggest luxury of all to your avail, time, play around with different surfaces to see the results for yourself..

It is really down to personal taste but a handy 1 by 1 fill bounce in a tight corner is always appreciated if need be..

Hope this helps and have fun!

So as for the original question, how are you doing with it?

Is THIS the solution to real time editing of h264 files come out of 5d/7d cards?

Or does one want to convert to 10 bit based avi's using something like the Matrox MX02 interface and allegedly have more flex in tweaking files in the edit?

My questions relate to research into upgrading into HD editing on a laptop, no bother whether it's Windows or Mac OS, as long as it works hehe!!!! LOL to death ;D

Look forward to the rant...

Be well!

Hi,

Does anybody have a link to a detailed 7d/5d workflow with Premiere CS5 with maximum quality?

 

Thanks!

Hi Matteo!

Long time!

Perhaps this link makes some sense..

http://www.adobe.com/products/creativesuite/production/dslr/video/

There are a few avenues and some clues but I'm still looking for what would be an ideal machine to maximise the potential of the CS5 suite, preferably on laptop, possibly adding in something like a Matrox MX02 breakout box und so weiter...

Hope you're well and keep up the Fun!

Thank you for the replies Gents...

The question came up from Director/s who shoot documentary, long uninterrupted interviews, you get the picture..

Definitely seems more hassle than what it's worth at this time...

Be well!

Hi All!

As the title says.... To overcome the 12min limit shooting 1080 mode, an idea springs to mind of attaching a portable HDD, possibly solid state to get longer recording time and perhaps overcome overheating.

From my little shooting time on 5D/7D, I've always noticed that when camera is paging data to the CF compartment, you can fry an egg on it, so simple logic says that that's where the overheating comes from...

And are we still getting 480p on HDMI out when shooting?

Well, just an idea but perhaps some of you have something to say about it..

Be well!

Any leads welcome...

Been following the thread with the Hotrod adaptors and then some Polish chap flogging them on ebay.....

But any takers here in London/UK?

What a plus that would be!

Thanks again,

Daniel

And by the way thank you again to everybody for the patience and the helpful thoughts

As all previous mentions and raves about the pictures produced and the possible nittpicking with codec compatibility, there's also the OPERATING side to the camera... It becomes a very different experience compared to.. well all other motion picture cameras - film, video and digital.

Also, as mentioned, with shallower depth of field and reliance on previous 1/3" techniques (hell, even 2/3"!) you might find you have to adapt your shooting style quite a bit.

Then, the mention of the sensor overheating.... quite annoying matter to be honest...

But - credit to some very interesting and "en vogue" shallow depth of field shots being produced with these fellas and grande bang for bucks here...

Bon Auguri!

They're weird like that. I shot in this old school-turned-apartments that was all over the place in terms of lighting types, colors, and levels. In one hallway, the fluoro flicker was really wild to the eye and we liked it and shot a sequence passing through there largely with just the practicals. Fast forward to seeing the film and there's barely any flicker at all. The color looked great (mostly cyan with the odd tube that was ore green) but I would have liked to capture that obnoxious flicker.

Cheers for the replies Guys...

Was very useful to have a DSLR for WB tryouts with the mixed lighting and bias to our wishes... according to the DSLR results with bare eyes....

As for flicker and other works of the devil, try this lot for a fun gadget http://www.movie-inter.com/en/products/index.html

Used it on a music video with fun results

Keep up the Fun!

just a joke based on recent experience.... was less funny at the time haha! ;)

Just come back from Gaffering a short on 35mm and one of the locations was a shop, where we used the built in fluoros as practicals/ fills with winter daylight thru shop front window and semi corrected 2.5k HMI as key/back light...

As I was called in last minute to Gaffer, no chance to do a reccie and so, working on the fly...

We - me and DP had this doubt regarding flicker from old bulbs, fairly visible and easily dealt with and also with older ballasts that might play up on the neg and perhaps impercetible to the eye...

As a backup test, we shot a wide on a Z1 set to 1/50 shutter and it looked ok - ie, no visible flicker and also stills on a DSLR to check for colour balance.

My DP watched rushes yesterday and seems ecstatic about results but I haven't seen that particular scene and was wondering if others have had similar situation to deal with before and what to expect....

Many thanks!

Dani

I've used this unit before and it was the biz....

In London, I believe Cirrolite used to stock it but seems pretty rare... Don't know about rest of the world.

http://www.movie-inter.com/en/products/index.html

Cheers!

Dani

Just saw this one and thought to pass it on...

Very original and even better story telling

Enjoy!

http://www.promonews.tv/2009/11/23/bug-16-.../#comment-15694

I have not hired equipment from this company, but they seem to have what you are looking for:

 

http://www.kithire.com/camera.htm

 

Good luck.

Cheers for the info guys....

But don't fancy beta shooting just yet.... more play before possibly jeopardising a story

I'll have a test day with a photographer mate of mine's 5D...

Happy shooting!

Daniel

Hi All,

Would like to find someone who rents a shooting kit, not just the camera... - 'viewfinder', video out to monitor, rods, mounting plate, ffocus, mattebox and others...

All tips mostly appreciated

Daniel

This came to mind as I was shooting a music video last weekend and had an HVX200.

Shooting on DVCPRO HD format and on a pair of hired P2 cards but had to do pickups the next day using tape...

Due to time constraints we went with the tape solution but I thought of trying out a direct firewire shoot and capture solution on the P2 format.

Can you use the SD card slot to shoot on P2 format?

Anyone tried this?

Thanks

Anthony,

You've gotten yourself a pocket rocket of a camera which driven well can produce amazing results...

Like Bryan said, most importantly, go out and tell stories is what counts. And showing them too!

Also, remember, making films is a family affair.. .it's a COLLABORATION... And being in London you'll find a lot of collaborators.

Learn your basics, go on film shoots as a trainee/runner and you'll get a feel for set procedures and etiquettes.

Be open minded and keen to learn.

Enjoy the ride and have Fun!

Anthony,

You've gotten yourself a pocket rocket of a camera which driven well can produce amazing results...

Like Bryan said, most importantly, go out and tell stories is what counts. And showing them too!

Also, remember, making films is a family affair.. .it's a COLLABORATION... And being in London you'll find a lot of collaborators.

Learn your basics, go on film shoots as a trainee/runner and you'll get a feel for set procedures and etiquettes.

Be open minded and keen to learn.

Enjoy the ride and have Fun!

Very slick little number!

Would be great to know the tech specs of your shoot.

Keep up the good work!

I suppose all has been said about it!!

What a shame!! And what a blessing while Roger still took time to engage and share experience, knowledge and enthusiasm..

Came across 'Jarhead' on UK TV last night and stunned by how hyptonic the images are bearing in mind most of the film uses a 'white cube' of a desert.... Another stunning piece of work by Mr Deakins..

Keep up the fantastic work and I'm quite willing to push for your site to come live again...

Regards,

Daniel

my meter was giving me mostly 0.4 & 0.5's and sometimes all i got was e.u.

was that for all setups, even the stage lighting? or just for audience, which you could get away with being just visible in shap and to add to the cabaret ambience and as suggested - tealight/candles on table would look lovely (but hey, I'm just imagining the scenario!)

I'd be tempted to push it.. it's a bit of a gut feeling and having not been around, hard to say.. BUT

http://www.cinematography.com/forum2004/in...showtopic=27506 might give some further clues to your experience.

All the best and do post the test on one of the video sites (please, not youtube!) if you get a chance,

Daniel

Hi Mark,

I've shot a lot of live performance under those sort of conditions, ie, available light in small cramped spaces.. Now, question is - what kind of film are expecting to have at the end of it.. a kind of resume of the night or are you shooting a specific performer??

As a pointer, these shoots have been commissioned and budgets/favours allowing only for SD video.

Obviously there, you get to see straight away what you're getting and then get a bit creative with a noisy image (subjective taste of course..)

Since you're using film, you're more likely to get an image with much more latitude than video, especially when dealing with stage lighting, most probably of the expressionistic kind - using profiles (lekos) and PAR cans. THese stand out like sore on video! but that's what you're left with and it's an accepted look that no-one questions.

With a test roll, you should try and shoot someone on stage and set your lightmeter at different ASA ratings from -2 stops to +2 stops and see what the film can do for you. Same thing for audience lighting (candle lit from a tealight on a roud table?) and someone/couple sat in shoot.

Slate each take clearly, make notes for yourself and lab and shoot a gray card with a profile lamp pointing directly at the card, set at the colour temperature that you'll be using on the night for lab reference at the beginning of the roll. Make it clear to them that you're shooting a test.

I assume (never do that!) that you'll be cutting footage on a form of video/ captured into an NLE.

Make sure you get a telecine based on a 'correct' exposure so as to be able to evaluate underexposed and overexposed footage tests.

Hope this helps!

Daniel

Mostly good images, and they move right along in the reel. There's a shot of a fountain that "doesn't speak to me." Also, that shots that are more about the celebrity in the shot, rather than the shot itself, kind of bother me, but that's part of the game. Last, I think the reel is in a teeny-tiny window. Play around w/ the pixel sizes of your QT, and see if you can embed something bigger.

 

Cheers.

Thanks for the prompt reply! I've had loads of fun cutting this together "too long, cut it down, show a taster only, not the whole thing, get celebs in..etc" don't blame you for 'the' celeb shot.. - this was a corporate shoot, she happens to be there with her kids and I basically cornered her to talk! this sells :> I agree on the size but this is related to freebie hosting services, you get what you get but my coding skills have indeed improved!

Hi All and thanks for your time!

Like the title says, feedback is appreciated and perhaps some orientation as to improvement would be most helpful oh and of course, if you want to hire me then let's talk!

all here : http://www.danielrussel.com

As for the fiction stuff, more to come

Thanks again!

:D

Hi All and thanks for your time!

Like the title says, feedback is appreciated and perhaps some orientation as to improvement would be most helpful oh and of course, if you want to hire me then let's talk! :D

all here : http://www.danielrussel.com

Thank you

Daniel