Alvin Pingol

>>just watch the new coldplay video "speed of sound" As much as I love Coldplay, and as much as I love Harry Savides, I can't say I found the Speed of Sound video cinematographically amazing. I mean, honestly, once you take away that horrendously expensive looking programmable LED fixture behind the band, it's nothing special. BTW... I'm seeing Coldplay at the Shoreline Amphitheatre on the 19th. EXCITED!

Watch Collateral for some good examples of what 1/24th shutter speed looks like...

True progressive scan. Though it does lay the 24P onto tape as 60i, so you'll need to remove pulldown in post...

Digital diffusion can never replicate what the real thing gives you. I know this is an overused term but glass filters look much more ORGANIC. :-p With actual filters, the amount of halation is dependent on how bright that particular subject is. With digital diffusion, the amount of halation is dependent on what lumininace value the pixels are. I.e., something at maximum brightness will halate the same amount as something twice maximum brightness, if you catch my drift. Someone on the boards explained it this way a while ago... much better than I just did. :P

Hi, and try not to crosspost. Had I known your question was already answered I wouldn't have wasted my time writing this reply to your other dupe inquiry. Thanks

The other major benefit of Kinos is that since they were developed for photographic use, their color rendering index is very high and output a full spectrum (I believe), as opposed to conventional flos that peak in the green area of the spectrum (but can be corrected with some CT MinusGreen/magenta) and may or may not output the full spectrum.

>>do I white balance before or after I gel the lights? Balancing after applying gels will negate their effect. So before. >>would you recommend shooting 30p, 24p or 24pa? Depends on how you want it to look! 30P renders motion more smoothly than 24P. Do some tests to find out which works best for your production. Motion pictures are shot at 24fps, so 24P will deliver more "filmic" motion. 24PA is just another form of 24fps, but is recorded onto tape differently. Motion rendering will not be affected; it's an editing thing, simply a different way to remove the pulldown pattern on tape (since the DVX cannot lay 24P onto tape). Google 24P advanced, 3:2 pulldown, inverse telecine, to learn more about recording 24P on SD video.

And don't crosspost PLEASE! Or else you make people like me write long responses to questions that have already been answered in another thread. Meh.

Hello "scanny," What you're experiencing directly relates to something called overscan, and is not specific to Sony cameras. Overscan exists so that CRT monitors wouldn't show black borders at the edges of the frame. If memory serves me right, the action-safe area of the frame (where to keep your subjects such as that they will not be cut off by overscan) is 5% inwards from each edge, with the title-safe area being 10% in from each edge. You should enable the safe zone markers in your NLE. I typically try to keep most of the action within the title-safe zone, since consumer television sets greatly differ in the amount they overscan, varying from manufacturer to manufacturer (and model to model). Professional video monitors have the ability to underscan, or show the entire frame. You will also be seeing the entire frame when you import footage onto your computer (with typical overscan being denoted by the safe-zone makers). When looking through the viewfinder of these SD cameras, the image is set up such as that it will represent what you see on an SD television set (i.e. one that will have an overscanned image). Thus, you will see more around the edges while editing than you will through the VF or a television set. People will not see the equipment in the footage unless they watch it on a computer monitor, professional video monitor, a video projector showing full frame, or any other device capable of underscan. If this worries you, matte out the overscan area; though there will now be black borders around the edges, chances are you wont see them on a monitor that overscans (e.g. television set). Just remember that when looking through the VF, there is still "more" image around the edges. Compensate for it and frame tighter, or move equipment further back, or whatever you need to do. Please try to sign your posts with your real name. Set it up as a signature to make it easier. Thanks,

If you'll be working without a genny, a 1.2k HMI fresnel would be your best bet, as it can run off of a standard 20 amp residential electrical socket without blowing a fuse.

Hi, what reel?

Great photography! Pacing just a tiny bit too slow for my tastes, but seeing this in a cinema would alleviate the problem; it is very hard to see the fine details that this piece appears to be attempting to emphasize in such a small, compressed video file. What was this shot on? Looks quite good!

If I'm not mistaken, this will be shot on video (F900) Similarly, the image will look softer than usual due to the subsampling of the red channel. I think a safelight is too dim to shoot under, even with a tremendous amount of gain.

Smell-o-vision? :P

I recently got a Dell Inspiron 700m and am loving it, mainly for the fact that it has an AMAZING display and weighs in at about 4 pounds. While a 12.1" 16:9 display is somewhat tiny, resolution tops out at 1280x800, meaning super sharp images. Moreover, the screen is one of those glossy-type ones, which I prefer; the anti-reflective matte LCD displays (the most common) can appear to be significantly lower in contrast because the reflected light is diffused across the surface. Great contrast, very bright, surprisingly wide viewing angle. My $0.02USD. :D

Hah, well apparently it wasn't enough. Evan you're not the only one complaining; check out the other two Cinderella Man threads. It has been noted that several shots appear to suffer from underexposure and, in an effort to save the shots, milky shadows and increased grain thanks to push process.

http://www.cinematography.com/shop/books.asp

How well do those squishy gel insoles work? Anyone here use 'em?

The Azden SGM1X would be perfect for your price range: http://tinyurl.com/cta2v

There are haze/smoke threads in the archives worth checking out, some good info there. But yes, water/glycol-based foggers are your safest bet and will leave VERY little residue (almost none, but of course, that is physically impossible). I don't even think they'll set off a smoke alarm.

If I'm not mistaken, the green channel is not subsampled in YUV colorspace (MiniDV colorspace). Yet still, the green channel may be sharp, but with red and blue at very low resolutions pulling a clean matte will be difficult. You should be utilizing more than a quarter of the resolution if you key with green.

Ha! Well I'm glad to see you are once again back on your feet. Life goes on; congratulations to you on your new job Daniel.

>>Do you know any other way to completely not having the vertical scrolling bar >>and shooting at 180 shutter speed with 24fps? Don't do plasma, as they do not output a purely flickerless image (as do LCD monitors). Plasma monitors don't so much flicker as they do quickly pulsate, and I think each color channel pulsates out of phase from the others. This can cause many problems and headaches. If an LCD monitor is out of the question, use a traditional CRT monitor with a refresh rate of 72Hz (24*3=72). Any multiple of 24 will work, but I don't know of many monitors that allow refresh rates below 60Hz. 96Hz will work too, if your monitor supports it. This way you'll be able to keep a 180 degree shutter at 24fps.

>>If I am shooting a Tv set in 35mm I have to change the shutter angle in 144 >>and keep 24fps in order to see the clear images running in tv Correct >>I won't have the problem to see noises like running lines ect. I'm not too clear on what you mean by "running lines," care to explain? If you mean the dark, vertically scrolling bar that you commonly see when cameras are pointed at television sets, then setting your shutter angle to 144 degrees will reduce it to a very small line. Due to the nature of NTSC not being exactly 60Hz (59.94Hz), however, the line will still slowly scroll across the screen. But no worries, it doesn't look bad. >>There is not motor that I have to syncronise with the motion picture camera? If you needed to keep the shutter angle at 180 degrees, you would set the camera to run at 29.97fps. Of course, on playback, the filmed material will appear to be slightly slow-motion.

>>I've read that the Z1U compresses sound 4X, at least in HDV mode. Isn't this a >>big negative? HDV audio is MPEG-compressed (Layer II) at 384kbit/sec, whereas uncompressed audio is somewhere around 1440kbit/sec. This is a significant difference, although I have compressed MPEG audio at 224kbit/sec with little sound degradation. At 384kbit/sec, you probably wouldn't hear a great amount of audio compression unless you looked for it. Listened for it, rather. If I understand correctly, the VX2000 does not have XLR-ins. You will have to make use of an impedance converter, which can really negatively impact audio quality (especially when the mic ins are the nasty mini 1/8" plug type - you lose signal strength and dynamic range). You would be better off going straight into the Z1U via XLR and dealing with the MPEG compression. If you do end up with NTSC/PAL issues, worry not, as these deal with video and have no bearing on audio whatsoever.