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Carl Fischer

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Everything posted by Carl Fischer

  1. Doing a shoot on greenscreen. Were shooting a subject on green screen with the idea of being able to place that subject in the world as a small character in a apartment. The scenes this character will be in will all be daylight in the apartment world (which will be shot as plates after). Because it will be daylight the screen and the subject should be lit with daylight bulbs correct? I assume so since were placing the subject in a daylight world.
  2. I have been keeping about 4 cans of vision 3 500 in my fridge for the past 5 months. I've read that for long periods of time keep in freezer though at school I have a mini fridge and can't fit it in the freezer part. Can the film be damaged by staying to long in the fridge or something?
  3. What is a 575 HMI fresnel equivalent to in tungsten light? 2k?
  4. I am shooting some shots of the New York Skyline at night on 7219. My only lights are the practical sources of skyscrapers, cars, etc. What is the best way to expose? Should I just set my lens wide open to a 1.3 (superspeed) or should I take a spot reading of one of the lights in a building though that gives me like a 45 at 500 exposing the light at middle gray which will prob look odd. Thanks
  5. If I let a slash of a highlight that mimics the sun go around 3 1/2 - 4 stops over on 5219 will that give me a pretty strong, somewhat burned out highlight? Do people go hotter? I'm not looking to create a Robert Richardson style highlight, but I want it to be pretty strong and don't mind if it blows out a bit. Though I know the stock has a lot of latitude so I'm not sure if you have to overexpose more to get the effect.
  6. Hello, I just recently loaded the ST with 1,000 foot rolls. I found no trouble with it except when engaging the cores key into the key holder, it took me a while to get it to lock. I'd hold the core holder stationary and pull out film, I found it was really hard to keep the core holder stationary as you don't get the best grip. At first I thought maybe I had lined them up right when I put the film on which would answer my question but that was not the case when I checked. I eventually got it but it was a pain for something that should be simple. Was I doing it the wrong way? The quick guide said to keep a hold on the core holder and pull film out the throat, which I did. Though like I said its tough to get a good grip to keep the holder stationary.
  7. The 435 has the little hinge clip that you place down to lock the film in place. Does the ST have I also? I was on the ST quick guide and it doesn't show or mention any little locking hinge but just that the core locks to the core holder once you place the film on it and get the key into the key slot of the core.
  8. The emulsion side of the film is the dull gray/beige side that faces towards the lens during exposure and the base is the glossy/shiny darker side that faces away. Is that correct?
  9. Hey I'm doing a music video on some short ends of 5218. It's basically a lot of exterior work with a small set up inside to kind of mimic a white cyc look. Just have a roll of white photography paper and its going be pretty much mediums and close up performance shots to mix in with the rest of the video. As far as my white limbo is concerned I have some 2k scoop lights that I'll be using and than a big frontal soft light with two edge lights (prob lekos) creating 2 small hot spot edges on the face. The typical rap video style where you get that hot edge on the sides of the cheeks. My question is I was thinking of letting those edge lights at the least go 5 stops over (incident reading). Since they are controlled and just little highlights I figure I could get away with those really burning out but I just want to make sure I'm not going to drastic where it will overall wash out the image. Also the cyc work I have done has been with the RED or HVX 35mm adaptor and I usually either have my false color or zebras on to make sure the white is blowing out white. Now that 35mm has a lot more latitude how much will I need to be to get that white to blow out? I figure if a spot reading of the material is 5 stops over I am good. Thanks
  10. I want to use mainly practical light from lamps on a upcoming short I am shooting on 7218. I have a set of 75 watt bulbs and 150 watt. My idea was to use the 150 watt in some of the larger lamp shades and also in the areas where important action take place. I would use the 75 watt for a lamp or two in the background. I also have a small tweenie kit and want to bounce light to accent the 150 watt. The shades are all around a kind of beige tone a few are more towards a off white color. My question is, is 150 watt going to be too much? I was originally planing on going with 200 watt bulbs but felt that might be too much. I could always hook the bulb up to a dimmer though I dont want to change the color temp to much.
  11. If your getting IR pollution with the RED camera will you be able to see the color shift through the EVF or RED LCD? When using a hot mirror stacked with a ND should the hot mirror be placed in front of the ND with the purplish side facing outwards?
  12. When using a IR filter with the red is it just used for day EXT? It just takes care of UV pollution from what I've read. Does it change any color or have a large exposure compensation? Also do you use it in day INT.?
  13. Reading AC, sometimes in the production shots they show the dp metering a scene. Why is it that at times their cupping their hand over meter? Is it so they can read individual lights? Thanks
  14. I've had a question for a while about dealing with darker skinned subjects. Most of my student work on film has been with Caucasian talent and I have done a few music videos but always on digital and I find that digital can read a bit better in the blacks then film. Where my question arises is in exposure compensation. Usually outdoors I may underexpose a face by a stop in sunny backlight but when the skin is of darker reflectance is this still acceptable? I tell myself that naturally a darker face is darker then a lighter face in such a situation. Of course I should double check with my reflected spot to see where it falls. But since I haven't been in such a situation I was wondering if I could get some advice on what people do with exposure and such. Thanks
  15. THanks for the advice. I also read to light the screen a 1 stop under then your key on main subjects. Why is this?
  16. Quick question about green screen, When the green screen is just going to be switched with solid colors do you have to light the screen differently? For instance if your going to put a white background in do you have to blow out the green as you would for a white cyc limbo effect? I assume you just light the screen evenly as you would and it would just be replaced with a solid white background. Also the gradient effect that is popular in rap videos where the back of the cyc has a circular hot spot and than gradually falls off. Can this be accomplished with green screen? (though now it will be unevenly lit with the center being hot.) And whats the best type of light to do this effect? A leko? Maybe a Par Can (may be to much). Cheers
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