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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 still have and use this system :)
  2. It will be easiest to sync using 25fps, especially shooting the CRT displays. For some distribution, you’ll need to slow the playback to 24fps, which I’ve done in the past. It is possible that you’ll come across some LED lighting or computer screened that don’t sync well and you’ll need to experiment with shutter angles for the best result.
  3. The original Ziess high speed primes had a 3 blade iris. The triangular “bokeh” was always visible on film….
  4. Less noisy image than VHS and much tougher hardware which was better for editing…
  5. If you’re going to see the windows in frame, you will probably need to light them all. This will require the rigging to get the lamps up to window height. It’s a big space. At the very minimum, I’d use 9 1.8k open face HMI lamps. But, you might need bigger lamps, especially if you diffuse the light. I’ve done a slightly smaller room and used at least 6 18k lamps and 4 scissor lifts. Not cheap! if you can keep the windows out of frame, light from the top of the bleachers. it’s the courtroom scene in this video clip.
  6. Seems like the camera was set to 23.98… If all your footage is 23.98, just leave it and edit in 23.98fps. if you have other cameras at 24fps, you’ll need to assign 24fps to the Alexa footage. You may need to adjust the audio as you’ll drift sync every 501 frames I think.
  7. Great news! You already have a cinema camera in your phone. You'll need to find your own career path through the business, but you also need to learn cinema vs still photography. Write some short scripts, without dialog, and find a way to shoot and edit them. You need to learn how images combine to tell a narrative story. You need to learn where to place the camera to tell the story. If you find this idea daunting, and hard to imagine, then… cinematography might not be for you. This will cost you nothing but time and energy so get started … today!
  8. You can use a mouse, but the control will be coarse. Much finer adjustment is possible with a control panel. For serious work, the control panel is almost required for this reason.
  9. I have tried using the “auto” transform from a card in Resolve. Sometimes it works, other times, strange result and I don’t know why. If you are successful, place this transform node in the middle of your node tree. You will find, I think, that this correction node, while accurate, may clip highlights and shadows. To fix this, use the nodes before the transform to bring back missing highlights or shadows using the lift or gain controls. Its possible your log to 709 LUT may do a better job if it was created for your particular camera. But the same technique applies. Use nodes before the LUT transform to adjust highlights and shadows. I think you will find it very difficult to simply normalize this chart log image by simple color correction adjustments. But, give it a try as you will learn a bit!
  10. From my experience... From my last film original... Film was processed and an "off line" scan or telecine was made for editorial. After picture lock, the takes used were scanned and conformed to the edit. Color grading was done using a 2383 simulation LUT and a negative was output and the prints made. They looked pretty close to the DI simulation. DI was done at Deluxe if I recall. Not sure what happened with the video masters though. Sony wouldn't give me a copy, and it was a foreign film, so there were not any to buy in the US. I had asked that they output the video through the emulation LUT, but I'm not sure Sony followed through with that...
  11. If you can’t afford to shoot film, I doubt you can afford the 10’s of thousands of dollars to film out a negative, scan it, and then re-color correct the result. I’ve only done film outs for a film release, but never rescanned the film negative. But, if there will be no film release, I would grade the digital movie and output a low contrast log version for creating the film neg, just so you don’t throw away data that you might need to digitally color correct your new film negative. I would certainly run multiple tests of short clips before committing to the work flow. Good luck with this and please share your results if you ever do it.
  12. If you want to see the reflections, you’ll need to light the interior bright enough to see through them, and this may look unnatural. Otherwise, you’ll need to flag off the reflections from the glass. Use a black flag rather than a a diffuser, otherwise you’ll just see a reflection of the diffusion. The flag will need to be pretty big too to avoid seeing reflections of the frame. And it will get dark inside, so you’ll need to light the interior as well usually. Be prepared to spend some time rigging the flag as it’s the most difficult part of the set up. Lately, I’ve had producers insisting on shooting these scenes using chroma key to save time and money and this generally works well, but you’ll need to shoot the BG plates as well. Reflections in the glass are then added in post, so shoot those plates as well.
  13. I believe this describes an older, video style Varicam. FilmRec mode allowed a choice of 4 or 5 different gamma corrections, based upon a gamma 2.2 base. The choices for gamma were given in percentages. 200% through 500 or 600%. The highest number recorded the entire dynamic range of the camera, but not in a log curve. Adding a correction curve during color grading was done to create the look and contrast desired. As it’s not a log recording, 10 bit or higher recording was necessary to avoid banding on color corrected footage. When these cameras were current, they recorded the highest dynamic range of the early digital cinema cameras.
  14. I don’t know the Venice camera, but is it possible that it does multiple sensor read outs to extend dynamic range? if so, it could create this effect, which in most circumstances is not noticeable. This might be a question for the Sony engineers.
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