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Duca Simon Luchini

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Everything posted by Duca Simon Luchini

  1. Hi everybody, I'm reading something about a good shot list template and found this interesting video: But I don't understand what does he means with STICKS (shot...)? please help!
  2. very well: now it is all clear. Many thanks for these great replies!
  3. Ah okay, thanks! "Action" from Director should comes always after the slate, but it reasonable that it is omitted in specific scene where actor must keep a great concentration. In these cases, when AC slate in means "Action" as well... and I find it a great idea.
  4. Sorry guys, I'd like to add just only further observation: Normally what we have to say in slate procedure should be something like this: Film Shoot AD calls "roll sound"
 Sound mixer calls "speed" when the recorder is running
 Camera assistant calls "scene ___, take ___"
 AD calls "roll camera"
 Camera operator calls "mark it" when camera is running
 Camera assistant calls "marker" and claps sticks
 Director calls "action"
 Actors go through the scene
 Director calls "cut" to break the action
 Video Shoot
 AD calls "roll tape"
 Camera operator calls "speed"
 Camera assistant calls "scene ___, take ___, Marker!” and claps sticks
 Director calls "action"
 Actors go through the scene
 Director calls, "cut" to break the action
 But really does it happen? Because, e.g., I didn't hear any "Action" after the slate procedure in all demonstrative videos about "How to slate on set". And often I didn0t hear any "Marker" at the end of slate procedure... :wacko: Shortly, in real productions what really happen?(Or better, how crew shorts the "academic slate procedures" in a shorter formula, as the mythic "Lights, Camera, Action!" (http://www.theblackandblue.com/2011/05/26/hollywood-myth/). :D Thanks for a reply, of course.
  5. Well said John, I've seen very common cases where there is NOT time to refocus cause the actor start soon to play after the slate. See for example this funny video: http://www.bhphotovideo.com/explora/video/tips-and-solutions/tips-second-acs-proper-slating-technique (At second 2:10 slate is very far... and in many cases Actors start to play before slating...!) I also read a great tip in another (old) post here, which suggested to: "place the slate in the right positions for different lenses. (ie 5ft away for 50mm, 2ft for 20mm, 100ft for 100mm, etc.)". Here we can read a recent article which gives furthers tips about where to place slate for focus: I quote the last part of the article: "Where to put the slate The general rule of thumb is to place the slate directly in front of the lens, and then move it away from the lens 1 foot for every 10mm of lens. So if there is a 50mm lens on the camera, place the slate about five feet away from the front of the lens. This rule of thumb is based on 35mm motion picture cameras, so one may have to make some adjustments when using cameras with different-sized sensors, but with a little practice it will become second nature." http://www.bhphotovideo.com/explora/video/tips-and-solutions/tips-second-acs-proper-slating-technique Bye!
  6. I was to make a little practise with set system but... (also I wanted to learn to my sons how exactly happens on set about slating). ;)
  7. Great guys, very useful suggestions! Of course, my question was about One man band filmmaker or very small crew. I thing is great to use follow focus and note the right focus for the Slate and for the scene to be able to come back to it after Slate focus. There is a great reasons to make it when you are alone, because you can check slate focus if you are on frot of the camera with the slate in your hand! :D Great is also slate at the end of shot, before "Cut", as Satsuki said. Many thanks to all! B)
  8. Hi everybody, there are some great thread about slating but my question is just little different. Right now I'm trying to use Slate for my personal work in VIDEO (I mean: Camera that record audio and video together and "One band Filmmaker" or very small crew). Anyway, this problem is about all of types of crew... What happens is that I can not preserve the right focus after slating or better, I make the right focus for my scene but when the slate cover my framing, It is almost always out of focus. So, what is wrong? I mean: 1- should I focus on slate and than refocus the scene? :blink: (I don't think...); 2- Should I travelling back and forth in front of the Cameras until I find the right focus ? :angry: 3- Should I slate where I founf the right focus in the scene? But in this case (wide shots cases...) the slate could be to small... :unsure: help please! :o thanks!
  9. Hi S, I think I didn't understand your answer... :unsure: If you shoot at 50 o 60 fps, when you slow in post, you should have many many frame to dale this effect greatly, avoiding frame "flickering". Instead, if you shot at 24/25 fps, when you slow in post, you have really few frames and maybe is hard to avoid frame "flickering". But interesting is what you said about Scorsese's slow motion approach, anyway... if he thought he was slowing the scene, because he didn't shot at 50 or 60 or more fps? I Mean, why in the r 22-36fps range?
  10. Sure, and for this reason we come back to my first question...: when you turn on your video camera, without any old color balance setting (preset, or last used setting) you should be catch the real on location lighting? Anyway, I thing could be a great thing - in outdoor shots where we don't have and we can not have a control of lighting sources(Docs, Reportage, Street Cinema, vacations... <_<) try to measure a color temperature of "global" lighting scene, e.g measuring color temp from a white paper oriented to Camera lens. So, the "global" lighting hits the white paper giving a mix of sun light, sky a and clouds reflections temperature. And then you can apply this "global" lighting value to your Camera color balance to match approximatively the on location lighting scene, catching at least a good part of the scene mood... :rolleyes:
  11. okay, okay, :unsure: anyway, I think was a great question asking : But how can we catch the real on location lighting mood? For example, Adobe made recently an iPhone app called Adobe Hue )http://nofilmschool.com/2015/06/meet-adobe-hue-cc-capture-inspring-looks-your-phone-use-them-your-edits)just to catch a real lighting moment you could always meet. So, I'd like only to know if there is a way to make this operation, cause sometime, really, nature can create a lighting you can NOT imagine... :rolleyes:
  12. Hi everybody, sorry if i came back to some topics of this thread, but thinking about your answers, I have arisen other doubts ... When we make a White balance we simply remove every cast color ... shortly, we remove a colour dominance, to obtain a neutral color scene. Instead, setting up a specific Kelvin value, means to give a dominance, i.e. means to give a specific color temperature to Camera. In Inside location, if we use 5.6 K lights and we give 5.6 K as white balance to our Camera (often 3.2k and 5.6 K are presets available). to be sure to have color continuity (or consistence, as Satzuki said). In outdoor scenes, where sun lighting change constantly, we should follow the same concept, i.e. trying to keep at the same color temperature between Camera and Sun. In many cases, if we add lights we should provide to match these lights with the sun color temperature to keep to have continuity in general lighting of the scene. So, as said Satzuki, Gaffer should measure the SUN color temperature and provide to add gel to match the color temp of additional outdoor light (normally 5.6K) with the actual sun color temperature. A very complex and hard job.... All I said is only to ave continuity in lighting. Instead, ONLY IN OUTDOORS SCENE, OF COURSE, if we want to work with a specific color scheme, mood, suggested from screenplay, Director, and so on, we should modify in some way the variant that is not controllable, and that is the sun. A classic example could be an outdoor scene where the actual sun is lighting a warm color but we want a cool color. Another common example:Director wants e "green" mood for a specific outdoor scene. In these very common cases we can use additional outdoor lights with color filter to color lights as he want, but we can NOT apply a color filter to sun...! So, I think, but I'm not sure... (this is a question): in this cases, the way to give to sun light a mood is to work with color balance in Camera, is using a specific Warm Card" with the green" mood chosen from Director? Or we have to apply a lens filters (but in this case, how we make white balance)? I mean, before you add a color filter to the lens, maybe I should take a neutral white balance (with pure white card)? Last, but not least... in our discussion we can not also ignore the cases where you can not manage the lighting as in a set of fiction. When we make Documentary, Reportage, Street Cinema (Cinema veritè, Live GOPRO or Drone Cinema...) often, if not always, we have no control of lighting. In these cases, which is the best way to set up white balance? And from this question also arises another question: when I turn on the Camera (and I have NOT and Automatic preset on , as a 3,2k or 5.6K) my Camera "catch" the real color temperature of the scene in that moment? It could be great! I mean: every day we can meet e great "natural" lighting (indoor or outdoor it doesn't care) and would be great to catch this lighting "as it is at that time". And this is the same for Docs, Reportage, etc... you could always meet a situation with a great natural lighting, and this is the real mood of that scene in that moment! It is not something thought by Director or DP or Filmmaker...but it might work great! But how can we catch the real on location lighting mood? Surely, we have not to make a White Balance... but I'm afraid the Camera takes memory of the last white balance used setup... so, what we have to do to catch the "real light on location moment"? Many thanks for a reply!
  13. Interesting and exhaustive! B) Many thanks! P.s. I wrote Tim, I'm only waiting for variation... :)
  14. Okay guys, I contacted Tim and he should change my user name in Duca Simone Luchini (my extensive name). I really don't understand why it could be important, but rules are rules... Turning back to this argument, maybe we can summarize it so: 1 - The scene should always be conceived with a mood and a color palette and the color style chosen should be guide the Camera setting (White balance, Colour filters) and Lighting (Colour Filter). In outdoor scenes this is complicated cause sun temperature changes and is a mixture from a direct sun light and reflected light from sky ( and clouds ...) . 2 - Instead, if the Director and/or DP don't have a precise idea of the color and mood of the scene (newbie, low budget) or if the Production company want to give a color dominance and mood in post production (by Colorist), it would be advisable to make a single white balance to have a constant and neutral mood and lighting approach (no color filters). Anyway, for me for me still remains unclear the role of color meter... I mean: you should make a manual white balance filming a white paper OR you can measure color temperature and give to Camera this Kelvin value measured with color meter. I don't understand if it is the same thing. If I make a manual white balance with my Pana 151, I can not see the value in Kelvin... but maybe somebody could try to see if , with a color meter and with a Camera which displays Kelvin value, the manual white balance Kelvin Value is the same in both measurements.
  15. I Brian and thanks for your reply, my questions are just little different: okay, daylight change constantly, but my question was essentially : - when we make a MANUAL white balance (day time outdoor location) on a white paper hit by light source (Sun) we catch (measure) the right sun light temperature in that moment - i.e. the white balance control of our Camera acts as a Thermocolorimeter? Okay, you said rightly: the color temperature during the day constantly changes, even if it changes very quickly only at dawn and dusk. But anyway, I did not understand what you should do (as I learned more about what you should NOT do)... I mean, if you have to shot a Master shot and a Coverage of a scene, how do you dale white balance, maintaining a continuity of light and mood? Make a single unique white balance for all scene, OR you have to re-make a new white balance when you realize that the temperature of the light has changed considerably? And if change white balance, what happen to your continuity of light and mood? Many thanks for a reply!
  16. Hi everybody, recently I see a fun video about parody about contemporary documentary style: http://nofilmschool.com/2015/09/hilarious-parody-documentary-style-taking-over-internet It is clear that in this case we are talking about a (continuous) LIGHT slow motion and not about an (episodic) EXTREME slow motion. So, I asked me if in these cases, we have to film at 50, 60 fps to be sure to have a great slow LIGHT motion or if is not important shot at 50, 60 FPS (said 50, 60 are FPS value because this FPS value is available in the most common video cameras) cause we can get the a good slow motion at 24, 25 or 30 fps? Your experience in this regard? Suggestion? Many thanks for a reply!
  17. Hallo everybody, I'd like to know some more about white balance in Outdoor shooting. I'm not sure about a very common argument...: when we make a MANUAL white balance (day time outdoor location) on a white paper hit by light source (Sun) we catch (measure) the right sun light temperature in that moment - i.e. the white balance control of our Camera acts as a thermo colorimeter - OR measuring a manual White Balance means to reset a white value as if we were in the presence of a light 5.6 k? I say that, because I read many post where Camera operator were NOT agree to make ALWAYS a manual White Balance... even if, I din't understand why... Anyway, shortly, what we should be about white balance in a day time outdoor location, where is the sun the (main) light source? Many thanks for a reply!
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