Tom Yanowitz
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Hi everyone, as I'm involved in low budget filmmaking, I'm interested in knowing what I can do lighting wise, when shooting in houses and just using the regular wall plugs, without the gaffer having to do any setup for bigger lights. It's a topic where I feel quite rusty. In the US, I believe your theoretical limit is 120v*15a = 1800W per circuit. In France, we can in theory go up to 230*16 = 3680W. 1/ At the rental place, is this effectively the thresholds that divide lights that come with regular plugs and lights that don't (32A only) ? 2/ Does that mean that some lights (for
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I'm suprised no one mentioned these lights so far on this forum. For their price they produce a quality soft light ! They exist in 60x60, 90x30, and 30x30cm I recommend ! But not being dedicated film lights they're not easy to put on a stand. Any creative electrician here could help me out on what kind of stand/accessory I could buy to be able to orient them as I wish easily (including "tilting" up and down) ? I have the 60x60cm version that weighs a good 5.3kg (almost 12 pounds). Here are some pictures of what they look like from behind.
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Here's the most simple way to view ISO for most cameras. If you shoot raw or log (or a log'ed RAW..) then you can view the ISO setting as nothing more than tweaking the luminosity of your image when grading. In most log/raw recordings, the ISO setting doesn't really influence what's recorded. What counts is the amount of light, the aperture and the shutter speed. You can try it yourself, pick up a camera, expose it for a given ISO, then don't touch at the aperture/shutter speed and record and different ISOs. Then color correct them all (maybe using exposure compensation LUT
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Thanks for the answers ! Yes of course choice of color, lighting, and everything in front of the camera plays a part. Do you know a place where you can find what film stock were used at this era in this country ? And if film stocks were sometimes improved but kept the same name ?
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Hello, For a project I'd like to reproduce (or get as close as possible, even if you can still obviously tell) the look of black and white of the mid-60s 35mm. I will record color digital, so that film grain could either be the result of a LUT or visual effects. Think "Masculin Feminin", "Persona" (both from 66), so pretty noticeable grain, as much in the highlights as the shadows, plus the particular roll-off in the shadows as well. I'm afraid most film stock LUT offer mostly recent film stocks. Only clip I could find of decent enough quality to observe grain Tha
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Just created a Youtube channel on digital cameras
Tom Yanowitz replied to Tom Yanowitz's topic in General Discussion
Thanks Tyler ! Indeed it was supposed to be in book form in the beginning (starting with my end of studies essay) but I thought I might potentially reach people more easily though 10 or so minutes videos. There will be a specific video on ISO of course :) ! I'll try to make more digestible visuals in the future for sure. -
Hello everyone! https://www.youtube.com/channel/UC4HtBBgGiacMtrgqOK1WClQ/videos A bit of shameless self-promotion here but it's closely related to this forum so I guess that's ok. I created a new youtube channel where I will try to study the technical side of cinematography under a 50% engineering 50% cinematography angle. I already uploaded a first batch of videos dealing with Dynamic Range. Any comment, good or bad, advice, outrage... is welcomed ! I love heated debates.
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Thanks for your answers ! Yes I know their is inter-frame Gop compression so the pixel weight I gave were more useful as relative values to be compared against each other than absolute values. Yes I agree those codec limitations are frustrating. But the a7s II performs surprisingly well in post for an 8bit files camera I found.
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Hi there, I'm asking myself some questions about compression in the sony a7s II's various recording formats and maybe some of you know the answer. I tried to calculate the mean (file) size of a pixel in the different formats to compare the amount of compression: 4k 30p 100Mbps : 3.33 Mb per image = 0.40 bit per pixel (on average, obviously) 24p 100Mbps : 4.17 Mb per image = 0.50 bit per pixel HD 24p 50Mbps : 2.08 Mb per image = 1.00 bit per pixel 30p 50Mbps : 1.67 Mb per image = 0.80 bit per pixel 60p 50Mbps : 0.83 Mb per image = 0.40 bit per pixel 120p 100Mbps : 0.83 Mb per
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A good related video
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The size of a mirror used for redirecting light
Tom Yanowitz replied to Tom Yanowitz's topic in Lighting
Thanks for your answers ! And also the semi-unrelated discussion that followed, which is interesting as well. -
Hello, I haven't had a chance to use mirrors on sets yet. My question is : if your goal is to reflect a light source onto the subject, to extend the virtual source to subject distance for fall-off reasons, or for any other reasons, how does the area of the mirror influence the lighting ? especially for Fresnels, or any relatively small and harsh sources ? Unrelated PS : David Mullen, please come and show The Love Witch in France, I want to see that film !!
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Yes we had two, a Classic and a Studio. So no internal RAW.
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I agree with you, once again, one most points David, and Anatole. First I'd like to point out I don't advise changing the aperture for every setup like a madman. One of the reasons you keep mentioning though is the need for a constant noise level. The reason I'm not 100% sold on this specific point is : on the one hand, noise level is almost not noticeable when you give a lot of light to the sensor. On the other hand, DPs seem to often get away with far more important changes from shot to shot. Like going from a wide to a closer shot on an actor : softening the light and/or the lens,
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My choice would depends on what you want to sacrifice. Great sensor but poor video file (hence poor postproduction) : sony a7s II Mediocre sensor but raw video file : blackmagic cameras