Bernhard Walzl

Thanks for your answers! Thats correct, I have used 60p to get rid of lighting flicker. And the motion stutter was due to the conversion from 30p to 25/24p. Well the thing is I have tried on a Canon 5D III to shoot PAL with a shutter speed of 1/60 to get rid of the lighting flicker but the results were not good and only switching over to NTSC eliminated the problem. Well, it's a bit of a broad question but having now 30p footage in my hands, what is the best way to convert this to 25p/24p? Is there anything smarter to do than just export the footage using 25p? Cheers, Bernhard

G'day, In my country we use European standards for TV production (PAL) however, power is running on 220V / 60Hz. In order to minimize flickering effects, I shoot most of my productions NTSC. (I shoot usually 30p or 60p) We recently produced a short film and got the chance to screen it on a big screen at a local cinema. To my great disappointment I had to watch the film with very noticeable stutter. I guess the projector was running 25p but my film was 30p and therefore images got dropped creating the jerking effect. So this is a big problem and I need to find a solution. I tried on a Canon 5D III to swap over to PAL (25p) and used a shutter speed of 1/60 but there was still very strong noticeable flicker. What would you folks do in such a case? I have been told newer cameras have an anti flicker option but I just don't like using such electronic filters during principal photography. Let me know what you think, Bernhard

Hi! I will be shooting soon a short film and have the option between two cameras on which both I have never shot before: Nikon D500 or Sony Alpha 7 I was wondering what you guys think, which of those cameras will output a better image? I will have for both cameras the same (prime) lenses available. To clarify, it is a short film which is both outdoors and indoors, both during day and night. I will deliver in Full HD (so no particular need for 4K). What would you prefer and why?

Hi! Its this one: http://www.kennards.com.au/index.php?fuseaction=product.view&productid=545&ctu=1&type=Generators&lvl=3 The green light in the picture isn't actually green, it is my iphone behaving funny in low light :) Thanks for all your comments, Bernhard

Hello! Thanks for your links, I will have a good read through. Only because I have access to all those lights doesn't mean that I will use them all. My generator has only 7000VA, so I am limited anyway. I like having the practical streetlamp in shot at one stage, that gives it the right feel and also some justification for my backlighting, etc. I thought about placing a blondie next to the street light, out of shot, maybe with a quarter cto to make it warmer. My first thought was, to give it some fill, enlighting the whole set with 3 Arri's with 650W. I guess I will have to dimm them down and use diffusors and a quarter blue and some green to make it moody and dark. What do you think about this mixed lighting idea? I also could only have the blondie and for the close ups I bounce some light with a poly in their faces? Dedos will be placed in their back for some backlight. It will be shot against a line of bushes and trees so there is no need to enlight any background. Thanks for your feedback, Bernhard

I also have some Kinos and all sorts of reflectors and traceframes, etc...

Hello! I will be shooting a scene in a park in a couple of weeks and I would like to get some advice and other ideas how to light it. Basically there is a superhero who rescues a chick, which gets attacked by a man. First, a shot of a man holding a knife on the neck of a women. then a wide shot of a pathway and the superhero comes out of the dark. Then some over the shoulder, mid shots and close ups of their faces while they talk. (The scene ends with the attacker running away and a cut to the superhero kneeling on top of him). So as the location I have a park (which is confirmed, and electricity is available). I am curious how to light this the best way and would like to know your opinions! First I thought about having a moon light which is all over the scene, but this would cause troubles in the wide shot. So I think having a practical light visible, like a street light, would be better, because this would give me reason to light the actors. I would put dedo lights in their back to create some back light but I am not sure how to set the arris so that the scene doesn't look overly lit. storyboard 7 is flipped because the light is on the other side. This is a map of the location: And here some pictures: I have access to a bunch of Arris with 650W and 1K, blondies with 2K, 3 Dedo lights and an HMI with 1.2K (altough I would like not to use this particular light) Thank you very much for your help! Bernhard

hello! I have a tricky shot and I was wondering how you guys would sort this out: there is a close up or mid shot, whatever works better, of an actor. it starts off in daylight and it should end at night time. it should kind of tell that time passes by. the shot should last for about 5 seconds. do you think this should be done ALL in colour grading or is there a smart way to light this? thanks, bernhard

Hello! I came across the question, why in America a shutter angle of 180 degrees is used when shot on 24fps, but in European countries it is 172.8 degrees. I would say, the 60/50Hz power supply causes this difference. But when I do the maths it doesn't work out: So 172.8 degrees equals a shutter speed of 1/50. This matches the 50Hz. But 180 degrees equals a shutter speed of 1/48. In order to have 60Hz, it should be 144 degrees. Can somebody explain this difference?

Thanks Chris! How did you calculate that? Are there websites or other tools as well who can calculate the lens?

Hello! I was wondering if there is a tool out there, which can calculate me the following: E.g.: I am 10 metres away from my subject. I want my FOV of 2 metres height. I am shooting on 35mm. My DOF should be 1 meter. And I am shooting with a T4. Is there a little tool (also iphone, webapp, etc), which can calculate me quickly the necessary focal lenght? I found plenty of tools the other way around... kapabel

Hello! I recently had a discussion about manual white balance and we did not came up with a right answer. When performing a manual white balance on a camera, one holds a white board in front of the camera. The question is: Has the board to be in focus? Of course it is rather difficult to focus on a totally white surface but there are scratches, borders, etc. Please explain your answer briefly. Thank you for your help, Bernhard Walzl