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Bruce Greene

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Everything posted by Bruce Greene

  1. Bruce Greene
    You could go the Home Depot and buy metal screen material and cut your own. Bring a light meter to the store and measure the light loss when choosing. I’ve done this on distant location once when no scrims arrived with the lights. ?
  2. Bruce Greene
    There is specialized software that firms specializing in this process use to colorize b&w films. I don't think this software is available for purchase. And it does involve rotoscoping all the areas to be colorized, a labor intensive process that is often sent to India where people will do this tedious work for small wages. I think if you want to do this work yourself, you're kind of on your own. You might want to connect with Jane Hicks who is an expert at this process. Good luck! linkedin.com/in/jane-hicks-86734a17
  3. Bruce Greene
    You can try Robert's idea, but I suspect that you'll still get the rails in the top of the shot. Or maybe you could use a tiny camera like a go pro rigged to a plank offset arm from a doorway dolly?
  4. Bruce Greene
    If they use a new sheet, then I'd charge for it, and they can keep it after production if they wish. Of course you should make an agreement on gels before the start of production so there are no misunderstandings. I wouldn't charge for scraps left over from previous productions though.
  5. Bruce Greene
    Of all the choices we make as cinematographers, I think the choice of lens manufacturer has the least effect on the final result. Most modern lens sets (made in the last 30 years) look pretty darn similar overall with subtle differences, though anamorphic lenses can add their own special distortions. We've been color correcting a recent film this week, shot on old Ziess primes from the 1990's, and they look very very good. But we did choose them due to price on this project. I'm not saying these were the easiest for the focus puller though as the lens barrels are smaller than is optimum for focus pulling... But they do look nice ?
  6. Bruce Greene
    Yes, boom operators get very tired sometimes...
  7. Bruce Greene
    There's more than one? ?
  8. Bruce Greene
    If you were shooting 30P and playing back on a TV which plays at 25p you will have issues I'm guessing. If you are shooting for release in a country with European standards, choose 25p instead of 30p.
  9. Bruce Greene
    You don't say what frame rate you've been shooting. It's either too fast a shutter speed as discussed above (it's best to shoot movies in manual exposure mode so you don't have this issue!), or your frame frate. If you've been shooting 24fps and viewing on a 50hz TV (European standard), this could be the issue. I've even noticed missing frames when playing back from my MacBook Pro HDMI to my TV and both are US versions... I think my MBP outputs 60 hz signals over HDMI, even when the source material is 24fps and this conversion is probably the issue. The other possible issue is shooting video with the image stabilizer turned on. I did this handheld with a Sony A7rIII and it created very bad jumps in the pans.
  10. Bruce Greene
    In the daytime, yes. And maybe even at night. The last time I photographed fire at night I shot digital at 800 ISO / T2.5 and it looked pretty darn good. I didn't really have a choice as I needed to light a very large outdoor set. As I mentioned before, with 16mm film there is a chance that the overexposed fire can bleed into adjacent frames (night only), but this probably won't be visible if you are cropping to 1.85:1. It will appear only if you are using the 16mm full frame area which isn't done that often these days.
  11. Bruce Greene
    Hmmm.... My first thought is: How many actors are in the scene? If only 2 or 3 (or maybe even 4), I'd like to shoot the entire scene in one day, and if possible, have a blocking rehearsal and pre light the day before. And as a bonus, if the blocking and pre light can be done in half a day, we've just bought half a day for another scene ?
  12. Bruce Greene
    Jeffery Silverthorne? The famous road kill photographer from Massachusetts?
  13. Bruce Greene
    Kind of simple I think. Since it's daytime, you would expose for the ambient daytime lighting (you really have no choice) and all will be fine. Whether you add lighting for the face is up to you. In your example frame, it does look like they've placed a light on the left of frame. If you were shooting at night on 16mm and using the full frame there would be the concern that the fire will bleed into adjacent frames in a weird way. I don't think this would be an issue during daytime.
  14. Bruce Greene
    This seems to me an issue of data levels vs video levels. If the .dpx files are good, then the ProRes 422 is the issue. ProRes 422 is usually interpreted as video levels, while .dpx is usually full range data levels. In your grading software, you might try assigning data levels to your ProRes 422 clips. In resolve, go to "clip attributes" and change the assignment from "auto" to "data" levels and see if that fixes the issue.
  15. Bruce Greene
    It could be that the camera display output assumes gamma 2.4 and you are viewing on a gamma 2.2 display? That would make everything look a little bi lighter on the display.
  16. Bruce Greene
    The meter will “match” an Alexa set to the same ISO. Bit I do find, like you, that I light a bit darker for the Alexa. I would though, if you have enough light, set the Alexa to ISO 640ish and meter at 800. Alexa at 2000 is kind of noisy...
  17. Bruce Greene
    I think when I say it’s “low contrast” , I’m comparing this Alexa monitor LUT to standard Rec709 video, or even an optical film print. i understand that compared to how you light and grade your work David, that it can seem to you “higher contrast” ?
  18. Bruce Greene
    Your laptop screen is possibly “wide gamut” and will show false intense colors. your phone and tablet apps correct for this and thus show desaturated colors. So, you must grade on a calibrated display in the correct color space or all will be wrong! and each device will always be different as well. And there’s not much you can do about it. You have a bit of a learning curve here and I suggest you start with the liftgammagain.com forum. And.. learning Photoshop color management might also be a good idea to understand the basics. There are many books about Photoshop, so that’s why I recommend it. Good luck!
  19. Bruce Greene
    A while back I was shooting with a custom, high contrast LUT, that resembled a film print. So I lit like I did with film. lately, I’ve been using the built in Rec709 LUT, which is a bit “low contrast”. And I’m now lighting with rather heigh contrast and often zero fill light, except what bounces around the room. i wouldn’t worry about the Log recording much as it actually applies more bits to the shadows than the highlights. i think my last project was shot close to ISO 1600, but monitored at 800. The set looked really dark, but the recording looks quite nice.
  20. Bruce Greene
    This, I think is changing quickly now...
  21. Bruce Greene
    In those days, most video cameras for video taps used a “c” mount. Some video taps have optics built in and some require a lens to focus on the ground glass
  22. Bruce Greene
    That’s exactly what this looks like. one side screws on to the camera, and the other side is for mounting a video camera to shoot the viewfinder. You might also need a lens for the video camera, but I can’t be sure from the photos. ive never seen this particular video tap adapter though. Video taps were not common on the NPR in its day.
  23. Bruce Greene
    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.
  24. Bruce Greene
    Ha! But sometimes one needs to zoom no? ? ? ?
  25. Bruce Greene
    Were you posting videos that you don't own the rights to? If so, sometimes this happens.
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