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Bruce Greene

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Bruce Greene last won the day on October 27 2019

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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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    http://www.brucealangreene.com

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  1. I think that since a digital color correction has no standard look (vs. film negative printed on film) there is no way to make a "standard" comparison here. I think the best one can do for this test is to color correct the digital camera file and the film scan in a proper grading software and present your preferred look from each original. They might look quite similar or different and it's your choice.
  2. Ha! But sometimes one needs to zoom no? 🙂 🙂 🙂
  3. Were you posting videos that you don't own the rights to? If so, sometimes this happens.
  4. I have a nice Fujinon 4.5-59mm cinema style B4 mount zoom lens if your buyer is interested 🙂 Like this one: https://www.adorama.com/fuhac13x45b.html But much lower price 🙂 🙂 🙂
  5. I'm guessing that studio overhead is so large that it makes no sense for them to release any product that doesn't have a chance to sell $100m +, no matter how likely it is to make a profit. So, some large flops are to be expected with this business model as long as the hits are big enough in the long run. Profitable small pictures don't really fit this model, so I'm not surprised that they might not be interested in most indie films.
  6. I've tried using a flash with my Alexa and it hasn't turned out all too well 🙂 Well, for movies, I guess one would use a little on camera LED lamp if one were shooting documentary footage and really needed to see something beyond what is available lighting wise. And the least amount of non available light would be best.
  7. Just saw this last night. A good and very well photographed film. But, a thin story, for me. The "single shot" idea was well done, but I don't think I would have even noticed if there had been obvious cuts and they certainly wouldn't have really effected the story telling if done correctly. But, very good publicity for the film, so not without it's marketing merits. Perhaps because I've read a bit of the WWI literature, I didn't feel the film captured the nature of the war and the way it was fought. And that scene with the French woman and baby felt particularly old fashioned and poorly written. The booby trapped bunker and the whitewater made it kind of "Indiana Jones" meets "All quiet on the Western Front". But as a technical achievement, it was pretty awesome. 🙂
  8. I've been pretty impressed with the few underwater shots we've done with a GoPro. It's certainly the easy inexpensive method.
  9. It looks like a moire problem, but it's caused by the image processing in the camera. I don't think it's visible on the live output from the camera, at least I didn't notice it until I brought the footage into Resolve later. After I discovered the issue, I googled about it and found it is a common concern with this camera. I've shot ProRes LOG on the bigger Varicam 35 without issue in the past. I think the Varicam 35 can record 4k ProRes 444 in camera, but the LT only 422 and I think this is where the issue is manifested.
  10. Off topic.... I tested a Varicam LT for a shoot a few months ago. And I found that the internal recording and compression produced some unwanted colored artifacts. Like a grey T shirt becoming a rainbow when in perfect focus. When out of focus, it looked grey. It seems to avoid this problem, one needs to use an off camera RAW recorder. I don't think this issue exists in the full size Varicam though. We shot the movie with an Arri Alexa mini 🙂
  11. the 110% is the encoded value for the recording and does represent the brightest value that can be saved. The reason it is a % is that this was the standard for analog video recording and so they've kept to that scale. In reality, an 8 bit recording can hold 256 values (0 to 255) and a 10 bit recording can hold 1024 values (0 to 1023). Higher bit rate recordings can hold even more values. So, today you will come across waveform monitors with values from 0 to 1023 for example, rather than 0 to 110%. This is what my Divinci Resolve waveform lists as values on it's waveform. The V-log does also clip, but at a point beyond that which is pictured in this graph. So, imagine that this graph continues to the right further than is pictured here. It is also possible that the Varicam LT, pictured here, clips the v-log at roughly 75%, and the values from 76% to 110% are left empty. And this may be because the V-Log curve is designed to replicate the response of color negative film, which can see values higher (brighter) than the Varicam LT sensor.
  12. I will just comment here on the LOG curve, the first in the list. The idea behind recording in LOG is really a compression scheme for digital capture. Basically, to minimize the amount of data recorded. In other words think of the amount of data recorded as a bucket and the bigger the bucket, the larger the file size necessary to store the data. The LOG curve helps to fit the entire range of tones that the sensor can see, and store them in a smaller bucket, by... deleting a lot of the original data. Digital sensors record light in a mathematically linear curve or a straight line in the graph. . And it turns out, that if one squished all the sensor data, in it's straight line into this bucket, this would only be possible by deleting data evenly along the exposure curve. And this creates gaps in the tonal scale of the image that are quite visible, especially on smooth gradients. And it turns out that the "meat of the image, the dark to light tones that appear to make up most of an image from black to almost white, would only cover from 0% to maybe 25% of the graph. Leaving "almost white" to the "brightest tone" using 75% of the data. It turns out that we have difficulty perceiving the smoothness of gradients in the near whites to the brightest whites, while we are very sensitive to gradients in the dark to almost white tones. So what they've done here is to stretch darker and mid tones up the scale, so that there are smaller steps between adjacent tones. They then flatten the highlights so that there is a much wider gap between adjacent tones in the part of the scale that we don't notice these gaps. So, in the end, a huge amount of data is deleted from the the lightest tones and much less data is deleted in the darker and mid tones of the image. And this makes it possible to record a large dynamic range of tones in a small package. Of course, when you see this LOG curve image displayed on your monitor, it looks quite low contrast and washed out. In post production color correction, where there is a very large data bucket available, this curve is corrected to create an image that looks like what we would generally call "photographic", but without deleting any additional data. On the set, there is a setting in the camera to output this correction to your monitor so that you can see a "normal" looking image, while recording the LOG image containing the entire dynamic range that the sensor/camera is capable of seeing. As David mentioned above, this has the effect of increasing the contrast in the darker tones, which allows much smaller gaps between adjacent tones on the scale. The other Varicam "look" curves in your example are Panasonic's attempt to capture a larger dynamic rage, while needing less color correction in post production. The "video" curve is to match traditional broadcast camera look that is standard in live broadcast productions and that's why you'll see so many blown out highlights when you watch your favorite sports on TV. I hope this makes some sense out of all this for you!
  13. Hmmm. Tough choices here. A good script supervisor vs. a new Mac Pro 🙂
  14. Yes, of course. But I was commenting on the contractor vs. employee situation that you posted about. Not really about Union vs. non-Union work. I've worked in this business a while and I've had issues with both Union and non-Union companies regarding failure to pay or pay in full. But in general, the Union jobs create better relationships between the workers and the company as there are clear rules that all understand and follow. And, production management is usually more relaxed on Union projects as they have a very clear idea about what everything will cost which can make their decision making and planning easier. In any case, once a deal is made, a deal is a deal... and we all need to do our best work to produce the best movie within the budget available 🙂
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