Tyler Clark

How important is a Phantom Tech on set?

Are they mostly utilized in the RAW to proxy conversion process?

Arri says 2.5 meters at the closest. With the use of some common sense you'll be fine.

-If anything starts to smoke/melt it is to close.

-If the make up of the talent is dripping of. You're to close

-If the talent can't keep his/hers eyes open. You're to close

 

You get it :D

 

For gel frames you can use heat shield

Appreciate the input man!

How close can your subject or frames be safely to a 24k fresnel?

Are there any other safety concerns using it in a smaller studio? (Half Cyc)

Have a yogurt commercial coming through and the Probe looks like a nice option as I have some direct overhead shots and some straight on as well as general macro content.

The 90 degree adapter looks like it would fix my issue of putting a phantom rig pointing straight down at a table.

Well how red was the cape on the day ? Saturated colors of any hue often get funky when it comes to LUTs-- which is why we used to do camera tests for wardrobe all the way through the post chain to see how things would render.

Seems to me the LUT is doing what it was designed to do, give you a very poppy red like in some Kodachrome slides or prints.

 

Have you ever seen a Technicolor dye transfer print projected? The reds are so intense that they are almost three-dimensional, which is why 1950's movies often did titles in red.

I mean it's an emulation LUT, not a true film scan LUT, so of course it's going to exaggerate the look.

 

All you've gotta do is bring the red channel down a bit and it will be solved.

Thanks for the tips guys! Not to say the gear makes the image but would a 10 or 12 bit camera have handled it better? Or at least allow for more range when dialing it in? Currently when I mask the cape, the adjustments look unnatural pretty quickly.

I don't know about the lut, and it wouldn't be quite as intense on actual film negative, but the old adage holds here:

 

Kodak = RED

Fuji = GREEN!

 

Old Kodak stocks always popped red.

Thanks for the Tip! As far as the luts go I tried fuji and kodak and they both had the same problem. I ended up creating my own curve off the C-log footage in the meantime but would still love to hear from anyone who would know why this happens.

C300

VisionColor C300-CLOG_Kodak Gold Gen.6 200_CIN

OSIRIS Vision X Log 32

Does anyone know why these LUTS are causing this red to pop so intensely? Everything else looks so natural. I have to go in and key back the cape on every shot.

Does anyone know how to take a rig like this http://www.radiantimages.com/virtual-reality/vr360/1037-dark-corner and make it move without the need to paint out anything in post?

Was looking into motorized dolly's and could only find cranes.

I feel like its not possible to have enough of this.

What are some of the biggest things everyone has learned that helps the cinematographer and the producer see eye to eye and get what everyone needs to make the project a success?

Did some narrative recreation to the inspiration of Coen brothers.

Would love some good critical feedback.

Also should I look to finding a dolly grip and go by his lead for that need or a key grip and dolly grip?

Have a gig coming up that calls for a 2 non stop 30 second straight shots with talent addressing camera.

One of those shots has to land on a screen full of a blue print that will be sitting on a table for animators.

I am hesitant to use a gimbal as the person speaking is the head of a large company and I've been advised "He doesn't like doing many takes"

However we will be on location in an office building with 2 person sized hallways that we have to maneuver through and I don't have much experience with working with a dolly team to be confident in saying if that is possible or not or what dolly would be the best choice. (I am only really familiar with matthews and fisher).

Should I gimbal it or Dolly it?

What dolly would be best for the situation if so?

Do people do this?

What's the Best camera cart to fly with?

Also for anyone whos done this, what were some of the biggest challenges?

Might be doing work with this soon.

Does anyone have any good resources or articles on planning, executing, and finishing in post they could link too?

Using the C300 I find the look is there using adjustments without throwing on a LUT.

Would using this method have negative effects when going to broadcast as opposed to web?

How does the 5600k end hold up to the color on the 4x4s?

Also how have people enjoyed the bi-color? Any weird color cast?

I assume there wouldnt be given they come from kino. Lame question I know but I cant find any good material on the matter. Maybe thats a good thing.

Thanks so much guys! This really helps out. Always appreciated!

Would you just be replacing the tubes in the existing fixtures with Kino or Optima 32K tubes? I guess you have to figure out how many you would need and if they would even fit or work with the existing ballast. If you can, why not test one or two tubes first to make sure it will work? You may get some flicker with those old ballasts even with new tubes.

 

I've seen 32K Kino tubes that vary from green to quite magenta, visible to the naked eye. I believe it has to do with the age of the tube. You can always make bunch of a Plus Green and Minus Green gel sleeves I guess. There are also 29K tubes that are a bit warmer and some people say they match better real tungsten units if you're using both in the same frame. The 32K tubes have been good enough for me, but opinions vary.

It also depends on how precisely you need to match the color. If the faces, for example, are always being keyed by the Kino 32 tubes, then it doesn't matter so much if practicals in the background are slightly warmer (which they often are.) Or you could warm up the Kino 32 tube with some gel. And if everything is keyed by the Kino 32, then any slight green (usually from the fixture not getting enough air around the tubes) could be timed out.

 

It gets trickier if you try intercutting faces lit by the Kinos with faces lit by the practical sources, if that's the case, it would be better to use tungsten lamps, perhaps on a dimmer, to match the tungsten practicals.

 

My main point is just to find a consistent approach, i.e. faces always keyed by the Kino, or always keyed by tungsten -- makes life easier in the final color-correction. Backlights and fill matters less in terms of switching between Kinos and tungsten.

Thanks so much guys! Always appreciated!

Depends on how deep we're talking, but this one worked for me.

Awesome! Do you have any stills? would love to see em!

Ive used them before (mostly with Clog) but always felt they needed alot of extra work in post to get a real crimson, deep, saturated red.

I believe I've always just used the Lee "party gel" red we have in house.

Is it possible to get deeper, more saturated reds through gels in camera?

Shooting a short narrative in an old antique shop.

I was set to have to deal with 4400k light. The lights seem to read closer to 3200 however.

Would 3200k Kino tubes be a better choice to match color to overheads or would a tungsten head?

Also What are your general thoughts on use of 3200k kino tubes? I dont use them often. Ive always felt they rolled a little too pink to match with normal house incandescents when I did.

 

It's a good distribution pic though. Sciency DoPs should draw it on the back of their grey card.

Lol. Thats fantastic.

I do appreciate the pic however and appreciate all the info.

When I need to determine how big of lights I need for a bounce I always just take 2-3 stops off - it's a little drastic, but it keeps me safe as I have many times not had a big enough light.

The 2-3 stops off measurement is fantastic as well! Ill be using that alot more.

Magic?

 

In reality - Do you know the fc of the light hitting the bounce material?

Do you know the fc of the light at any distance?

Do you have another lamp that is close to the same?

You'd use a light meter to read it.

I am sure you could apply some maths in an idealized situation figuring out the amount of fC of the source light at x distance and then the reflectivity of the bounce material, and then working out the FC of the light from the bounce at distance y-- but in reality, lightmeter.

Thanks guys! Was looking to see if there was a formula to rough it in using the photometrics of the lamp heads like with diffusion.

How do I determine foot candles of bounce light?

Without having the light and being able to meter it.