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Bruce Greene

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About Bruce Greene

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    Los Angeles
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    specialist in narrative projects, features and series.

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  1. I have a set of mk1 standard speed lenses in Arri Standard Mount. I’ve used them many times for super 35mm film without issue. I’ve never used them with a digital camera though. I expect that their performance is quite similar to the mk2 lenses. The mk1 lenses are very small and do not have gears for follow focus. You would need an adapter to PL mount to use them these days. And you may need a machinist to make focus and iris gears for them.
  2. I doubt you’ll see better results than from the drum scanner...
  3. HDR? That will depend on the range if your display and the HDR standard you are grading to. Suitable HDR displays currently cost about $30,000. Do you have one?
  4. About flicker using a spring powered camera: You may get flicker with any non continuous light source such as HMI or common fluorescent lamps. Light only using tungsten lamps to avoid flicker or use sunlight 🙂
  5. It would require an entire book to answer your question, and even then, only practice And observation will work. I Suggest you volunteer to help on the lighting crew of some small projects to get started.
  6. In a calibrated display, in a darkened room, white should be 100 nits or 29.2 foot Lamberts.
  7. I shot a long exterior birthday party scene with constantly changing light. We didn’t have time to wait for consistent lighting. The original edit really showed the light changes, but after color correction it played very well and looked rather natural. My suggestion to you, as an editor would be to cut for the story and not worry about the changing sunlight.
  8. I think, that if there will be a color grade applied to the footage, then it’s a little crazy to try to exactly match the exposure. i think you can accomplish a good match, lighting by eye. The direction and lighting ratio should be similar, but that’s all that’s necessary. You could make a good quality paper print of the scene already shot and refer to it as you work if that gives you more confidence. You might even grab still frames and put them up, side by side on your display with the live camera image, but you might need to take a computer with you on set to play back the still frames. For me, in general, I find “false colors” a difficult tool to judge what I’m doing, and I’d rather look at clean image and a waveform.
  9. I have spot and incident meters. I use the incident meter to light the set, and when I used to shoot film, I used the spot meter to set the camera exposure, though I also sometimes use an incident meter to set exposure, depending on the situation. with digital cameras I still use the incident meter to light the set, but I generally use the camera image or waveform to set the camera exposure. Since I also use film cameras for shooting stills (off set), my spot meter is my go to meter for shooting stills, on film 🙂
  10. I shoot with 6x9 rangefinder cameras. One is wide, one is a little wide, and they have fixed lenses, so not what you’re looking for. My one challenge these days is that 220 film is EOL, so only 8 exposures per 120 roll. if I were looking for an SLR today, I would want one with interchangeable magazines to speed reloading. if you want to consider the rangefinder cameras, my Fuji GW690 cameras sell for about $600, including the fixed lens. The wide GSW model has a 35mm equivalent 28mm lens (65mm) and makes a large 6x9 negative. It is all mechanical and a leaf shutter with very low vibration, so it can be used on a lightweight tripod. The GW model has a 90mm (38mm) lens and is about the same price.
  11. This light flash is so even that I think it’s possible that it’s not on the film negative. find the shot in the original negative and tale a look on a light table. If the edges of the film don’t show a light leak, scan the negative again.
  12. I have both meters and I’ve found that I rarely use the spot meter when shooting digital. i do use it for shooting still photographs on film though. i use the incident meter when shooting digital movies while setting lights, and sometimes for setting the camera exposure, usually on day exteriors. i never measure lighting ratios though. I always done that by eye as I think a perceptual match is better than a technical match.
  13. Just to weigh in here, for perhaps no good reason. I blame the virus for my time to waste... The idea of light “texture” makes no sense to me. Light plus shadow can create a texture (from the shadow), but not an evenly illuminated light. Soft vs. hard light is a function of parallel light waves vs. random. The size of the lamp, and the distance to the subject, relative to the size of the source. Simply put, a “diffuse” one inch diameter lamp, will cast a sharp shadow 20 feet from the lamp. We all know this from experience. And vice versa. We all learn this stuff pretty quickly as cinematographers. So why all these emotional words to describe a light fixture? The emotion is a combination of what’s in front of the lens, plus the lighting/shadowing of the subject. Simple stuff. Color accuracy of particular lamp/camera combinations is a good area for discussion. And, to me, film doesn’t look “organic”. It looks “dithered” 🙂
  14. Tungsten lamps photograph very well for good color, with no surprises. The biggest issue with tungsten vs LED is speed of working. LED lamps can be adjusted for brightness using a dial or a remote. No need to climb a ladder to drop a scrim in the lamp. They can also be adjusted for color, avoiding time cutting and mounting gels. They are also lighter weight and easier to rig without light stands, as in back lighting interiors. And to add more speed, many can be powered by battery and save the time running and hiding cables. When time is short, speed often trumps color accuracy. Of course, when harder, more controllable light is needed, tungsten and HMI fresnel lamps are still used.
  15. If I recall, Photoshop can import video clips. I did this years ago for some simple vfx. Check the manual to learn how to work with video in Photoshop. I would suggest trying the healing brush to paint out the dust spots. i also once used after effects to clean up scratches and dust in a long piece of stock footage. It took me about 3 hours to learn after effects technique and about 10 hours to repair the entire clip as there were a lot of issues with it.
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