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Bruce Greene

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Bruce Greene last won the day on March 14

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About Bruce Greene

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  • Occupation
    Cinematographer
  • Location
    Los Angeles
  • My Gear
    Steadicam
  • Specialties
    specialist in narrative projects, features and series.

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  • Website URL
    http://www.brucealangreene.com

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  1. 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.
  2. 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.
  3. 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” 🙂
  4. 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.
  5. 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.
  6. From my experience you can usually clip the gels to the barn doors without issue... as long as you do not spot the lamp down. use the lamp at full flood and you should be ok.
  7. I think the big advantage of the R model is that it has digital video out over SDI. The earlier models only had analog video out which required 3 cables.
  8. For HDR grading, you’ll need to spend about $30000 now. For SDR, I use an Eizo computer display, but I’ve needed to learn how to calibrate it correctly with a proper 3D LUT. This takes time and some money. For “out of the box” calibrated display, get an FSI monitor. There may be a 24” version within your budget.
  9. In the past I've had some foreign releases use cinevator prints and they were fantastically ... awful! At the time, the cinevator was using an LCD display to photograph a negative version of the digital movie to film print stock. Maybe, if they've switched to some OLED display tech, they would be better today. But, now that distribution on film is essentially dead, I think I'd avoid this. Certainly, I'd perform a very short cinevator test and project it before ordering a print of your completed film.
  10. I think a couple of the bodies were destroyed in accidents...
  11. I think only Leonetti rented these cameras in Hollywood. At one time, I think there were 17 bodies in use.
  12. I operated Steadicam on Child’s Play 3 🙂
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