ryan knight

after my tests, it looks as if shooting the 7218 under HMIs with no correction on the lamps looks great. perfect base for my turquoisey "movie darkness" 3 stops under look. also, the grain and image look the cleanest by over exposing by ONE WHOLE STOP. metering for 250 instead of 500 (or 400 or 320) gave me gorgeously clean results. that's my look, baby. very surprising thought that one whole stop over looked the best (i suppose that 500T is really 400ASA anyway). best, rk.

hey there shooters, has any here done (or read about) anyone shooting with an HPX170 and recording uncompressed HD via the HD-SDI output to a Blackmagic or similar device? thanks, rk.

can anyone point me to or link me to a good thread on testing film lenses for resolution? not about a particular lens set, but just how the overall process is executed. thanks, rk.

aha, i knew i was brain farting. keep it all consistent to ensure the most effective correcting in the one/best-lights. i will look into a LLB. thanks adrian.

hey there, i'm gonna be rolling a lot of 7218 in some fairly dark and some very dark interiors (an abandoned warehouse). though i will be lighting with tungsten balanced lamps, the ambient luminance in the facility for several scenes (in the fairly dark ground level sets) will be from spilt daylight light, coming in through windows and doors from other areas of the building. for these scenes, i can't afford the light loss to put an 85 in front of my 500T to correct to the ambient daylight. i can't test at the location either. do i a) shoot with no correction and time it out during the supervised transfer? or B) shoot my gray card (for the relevant rolls) with the 85 and then don't shoot any scenes with the 85 to save me the exposure? or c) another option... ? rk.

what really matters to me is seeing into the shadows, the latitude - i'm not really doing the tests for grain (but that is a good thought). perhaps i could use a 400ASA to give me an idea of the shadows acting as my 500T (18), and test a 200ASA for my 250D (05)? i feel as if using a DSLR won't be as representative of the latitude of the film.

howdy, i'm shooting some dark interiors (500T- 7218) and day exteriors and interiors (250D- 7205) for a short in three weeks. we have no money to shoot tests with each stock at the location. would it be relevant/accurate and useful to shoot tests with 35mm still stocks of the same sensitivity at each location to get a feel for the texture of the location and how each film may capture the environment (an abandoned warehouse)? or would my S16 stocks differ too much from still 35mm films of the same ASA? thanks, rk.

looks great. for your master, did you guys do any sharpening or denoiseing. the grabs (taken from what i assume is your mentioned HDCAM master) seem so much cleaner. thanks, rk.

i completely agree with all of the things said, esp. regarding the jar jar binks twins, the busyness, obtuse narrative. but going back and seeing it a second time (the first time was a bad print), it is much more enjoyable once your expectations are lowered. the first one was great, with a human grounded story about a boy and his car. the second really wanted the audience to be flung into a world far different from the first, where autobots are out there and decepticons are in bigger numbers. but seriously, even though its sad that a $200M flick is much more enjoyable with lower expectations, the second time was great and twins weren't so bad. PS in the scene when the camaro and two twin chevys are driving into NYC (low shot, front passenger tire) you see the production vehicles and even pylons in the BG down the bridge. bay's movies are full of that stuff. in pearl harbor when the battleships are being bombed, you see the focus puller with his bartech in his hand.

i'm not sure about the build or using the new color science. sometimes, i try to leave info/issues that are that menu/science based to my first, so i can not worry and just think in terms of images. i'll take a look at the raw images in redalert! and compare them to the same image with a color space. thanks david.

hey howdy hi, i just wrapped my third project with the red, shooting 4K, 2:1, redcode 36, (my first AC knows the build number) and standard speeds. i'ved used HMIs, 575 pars and 1200 fresnels, on all three shoots. during the third, i noticed a drastic change in how the camera handles HMIs. as usual, when HMIs warm up, the color temp is all over place. i noticed on the red onboard, evf, sony dvm and panny 17", that the HMI read as yellow when it was fully warmed up (upon warming up, the green tinge looked super green, like radioactive). i thought maybe it was a chroma or phase issue on the dvm and panny, but it was not. i thought it was a fixture issue (just that 575, but my other 575 looked the same, as did the 1200). then i thought it was some kind of anomaly of shooting in a pink room, but it wasn't as the same happened EXT. in day light. this is all when shooting with the red balanced to 5600, and the HMI coming through several different diffusions (either opal, half grid, eighth or quarter white). throwing some 1/4 minus green on the lamp helped a bit. once shooting EXT. night, i balanced the camera to 5000, and threw 1/4 blue on the lamp and didn't see a hint of yellow. and my daylight balanced kinos were fine all shoot. any thoughts about why the HMIs looked yellow? thanks, rk.

chayse, great thread, this and the first one about OD. the windows in the bg look great., very nice exposure. did you throw any filter on the lens diffuse the windows, schneider cs perhaps? thanks.

hey clayton, i think it looks pretty nice too. the sharpness is great and the EXT. night scenes held up fairly nicely with no light. i've definitely seen prosumer video in such an environment look absolutely unforgiveble! i do agree that it looks a little red. i wonder if that is the way the canon renders skin tone (i've never used a canon). did you white balance manually? maybe next time for EXT day scenes try using a manipulated manual white balance. grab one of those free lee filter 4" by 4" swatches and white balance through some of those to warm it up, cool it down, add or remove R G or B, or pink and green just to get the skin tones when you like them.

try a classic soft filter, maybe a 1/2 or a 1. 2 may be too heavy. with the classic soft, experiment with overexposing by 1/2 to half a stop and see how the whites bloom.

oh yeah! that's right, he said if they shot anamorphic it would nearly killed their 1st because of mere centimeters for error when pulling.

it was also shot anamorphic close to wide open... answering your DOF question.

thanks david. good one, i completely forgot. anything in a more contemporary setting? perhaps with straw on skin tones? best.

can anyone, off the top of their head, refer me to some films, TV, video where the DP used more of a deep turquoise/teal for moonlight? when thinking about that color, think of light bouncing off a pool at night. thanks.

http://www.youtube.com/watch?v=3JN-xm8bcAs does anyone on the forum have any kind of specific insider's insight on to how this video was shot/lit? my director is using it heavily as a reference for an upcoming project. thanks.

interesting experience. sorry to hear such a shoot has happened to you too. the contrast in your clip is much nicer. and at your least the performer from your vid has prettier eyes. jokes. best, rk.

t'is the plan. best everyone, thanks.

i'm supersorry, i meant standardspeeds 2.1s.

when it comes down to it, the producer is going to make me choose between the 1.3s and the superspeeds. as i mentioned above, i used the 1.3s, but am looking for something sharper. the majority of the film (all but one scene) is to be shot day EXT. so i don't necessarily need that extra stoppage that the 1.3s offer over the superspeeds, but will the superspeeds render a sharper image than the 1.3s? thanks all.

i do know how awesome these lenses are haha, but i don't think the person with the red pen truly does.