Albion Hockney

it should be noted that the stops lost in the shadows from higher ISO...those stops are not going away...its just that now you are exposing at say 1600ISO on a camera that is 0DB at 400asa... and therefore you are underexposing the image and introducing more noise so those stops just get buried. but you gain highlight detail because the sensor itself is not clipping and you are just pushing the signal up after it has passed the sensor.

Satsuki are you suggesting 800 ISO is not the same on all cameras? doesn't that defeat the purpose of ISO.... I assumed they are all accurate... I hope ...or at least within like 1/2-1/4 stop ...have you tested this ever?

so theoretically to power the LED's properly all I need to a 12v power supply of any kind?I don't need battery power of any kind so just looking for a nice affordable way to get them wall power and then dim without flicker. so is your dimmer also a power supply? in general would these be a two step thing where I get a dimmer and a power supply? I wonder what the best way to make a dimmer in this kinda setup would be or if there is any off the shelf sorta thing I could get without spending $300.00 on the LiteGear one. Sorry little lost there as Ohms law is about where my electrical knowledge starts and end haha...

I was curious about this same thing, was looking at the Yuji stuff yesterday. Phil do you know anything about dimming/powering them properly is there anything you have to worry about? a big cost from the LiteGear stuff is their power supplies/dimmers, is there anything special to note and to make sure they don't flicker? LiteGear claims you can shoot up to 1000fps with theirs and have no flickr. I think the way to go is to make panels out of them, you can make super thin bendable panels ....super useful. I keep thinking about the future when this stuff will be a lot cheaper and have them in the source maker blanket style in 8x8 and 12x12 varieties. that will make for some beautiful soft wrapping light.

I think the Ronin would do pretty good on a boat.... I'd do it with the flowcine easy rig setup ...it will for sure be better then with handheld.

when you overexpose via ISO settings on the camera you are boosting the signals gain. so in effect you have more highlight latitude because the sensor itself is not clipping. You can really see this happen if you want to better understand by pushing the ISO really far... if you light a shot for say 1600iso on a red and have some part of the frame just below the clip point as you raise your ISO you will notice that the highlights arn't moving much if at all and you may see at even 6400 iso 2 stops up that they are in the same place ....instead you are just introducing more and more noise in the bottom end of the picture. The inverse of this is also true, although harder to actually see happening. its also important to note that more modern cameras seem to be moving away from native iso to a certain extent....RED doesn't really give native ISO for the Dragon and some cameras there are two native isos or the native iso is so high that its crazy 2000-3200 on the Sony cameras.

the arri photo metric calc is a good place to start. Bouncing light drops the intensity and quickens the fall off a lot. if people are close to the bounce 2 stops is kinda my rule of thumb but if they are farther away it can be a lot more light loss. the material you bounce into will also effect your stop loss ...ie ultra bounce vs muslim etc. you are certainly in a big lights sorta category if you are thinking daylight you are in territory like several 4K-12k HMI's I'd say. Maybe an M90 from each of the 4 corners of set into 20x20 Ultra bounce.

never heard of such a thing, you could always email k5600 and ask if know one here knows. I have used 1.2k's at 10-12,000ft many years ago and didn't have any issues.

Bringing back an old post here. Since making this I have had quite a few experiences now with this and can say many production companies doing non union work require you to hire non union crew. the "call in the job" thing I think is ok if it's a small thing and most of the other crew will be non union, but on a larger Job I don't think that will happen much as of course you might have the set visited by the union if they know 10 of there members are working it. One question, what about when things go the other way, can a Non union DP shoot a union commercial?

are you thinking it needs to be as small as one led bulb? if it the dedo is small enough that would be the best bet. if not I think you are in the territory of making your own light. yea like an LED flashlight sorta thing. if you need that narrow a beam you might need to look into how lights like source 4's are built and try to build one on a tiny scale. I think yes as far as LED tech the litegear Lite ribbons use the highest powered most color accurate tech out right now as far as I know.

you can run a 4k hmi off 1 6500w honda. it needs to be wired in a special way which I'm not sure the specifics of but I have it done on jobs all the time.

I am thinking about buying a Sony F3 for some personal work as they are so cheap right now. the Internal 8bit 4:2:0 has always been a turn off and SxS is expensive so I was thinking of getting a monitor recorder to at least get 10bit Pro Res from it. There are a few of these recorders out there - Atomos Blade, Ki Pro Mini, Odyssey 7 was wondering if there is any real difference in picture quality as the Atmos blade is $500.00 cheaper then anything else. Anyone use/have issues with the Atomos?

Hey guys, I figure some people have more experience with this then me on here and could weigh in. I'm just getting into the more standard commercial production world. Most jobs in the past there have not been production coordinators and I have handled bringing on most of the crew myself, even if the rate is negotiated by the producer I bring on the guys. I just got a job where before they even booked me they had a Gaffer (with his truck) and crew already on the job... I was a little disappointed by this as I have a group of people I like to work with and know my style and such. Does this happen much, and do you ever fight it?

Film is a medium, like painting or writing or anything. its not directly a business although historically it has generally been thought of one and currently in today's heavily capitalized world it continues to work in that way.... but film is definitely a art form and all talented cinematographers have at least some artistic values. ...I laugh at people who value money over art. capitalists, HAHA.

No, the color of a filter is not effected at all by the intensity.

Thank you this is great info!

I was just curious on a set shooting film who is in charge of keeping track of how much film is being shot. By this I don't mean for changing magazines, but for keeping track of how the production is doing so they don't run out of film/go over costs. does someone in the camera department usually talk to a producer about this? as a DP just now starting to shoot film on lower budget projects I am very worried about our shooting ratios and on the day I know I also don't want to be too worried about it so just curious what the delineation usually is. thanks!

Hey Haydon. so the picture you posted actually doesn't really use soft light much. I think often it is a misunderstanding that dim scenes seem softly lit. the practicals are pretty big here too they are doing a lot. this is motivated with the two lamps and the main lamp is mimicked with a hard source from above maybe like 250 on the doors of the light or something but no big soft source's there. there appears to be a second soft source in the room that is lighting the bottom right of frame with that table but its hard to tell in such a low res photo what is going on. There is also the window glow which is doing some stuff. the thing about controlling soft light is you need bigger flags or more duv or w/e your going to use. One thing alot of people do is use china balls. the classic situation is a skirted china ball over the middle of a dinner table. but you can use that in any situation. Chimera's are also good but you may need to extend out pieces duvetine or flags somehow to control the light. This usually means rigging to ceilings in wide shots with ceiling spreaders or other tools like this. I think a good thing that I have learned is not to be afraid to underexpose. Often times if you look at frames like your reference you'll find the whole thing barley touches 50IRE in scopes. so that means even your hottest parts of the frame may just be at your stop. This of course depends on style your going for, but something to consider. for close ups you can do book lights but they hard to control. You might be better again with something like a large china ball, but really anything can work you just need a nice soft source that wraps. Honestly the light from a real lamp can be perfect size sometimes or a real lamp through some like a 4x4 of 216/250.

is there something weird about the mount of these lenses or are they standard PL mount?

Miguel what is "Depron"

I just base all my setups on dovetail usually and have dovetail on the handheld rig too or if I have a shoulder pad put the the dovetail on my shoulder with no need to switch rigs but im not familiar with aaton's at all.

can you put the camera on a dovetail and slide it farther forward? that is generally what I do to balance a rig.

I think super 8 actually does look videoy sometimes the low dr and depth of field kinda puts it there. its just the grain structure and organic quality of the image that saves it from that. the thing about color space is not just the technical bit rate end but how the camera sensor deals with the color on the front end. 4:2:2 Alexa vs HVX 200 4:2:2 ....its not at all the same thing

there are a lot of reasons. but to simplify it I would just say one camera is a lot better then the other. if your talking like a $2,000 video camera or even the 20,000 camera they shoot the news on for VS a digital cinema camera like the ALEXA which most hollywood films shoot on.... the news camera has very little latitude so very bright things "Clip" and turn white very dark things turn solid black. so basically there is less overall information being captured by the camera, it does the same thing with colors too. its capturing less color information. So you end with an image that although we have become used to is very weird looking really...not at all like what our eye sees. Digital cinema cameras have much more information in terms of both bright and dark and range of colors. They also have a bigger sensor so you have creative control over the background being in or at of focus.

images look great, i think the too much contrast is found in crushing the bottom end of the curve. I would have tried to keep some more shadow detail.