David Christopher

Anyone, What's the complete dope on the Panasonic 900 24p camera. I'm an experienced film DP. who can do pretty good stuff in ALL formats, Campare to film Miny -Dv, 1080, 35 Blow-up results, highlight control, etc. A director wants to use this cam down from super 16, because there is no immediate theatrical. Of course I can do so much more with film. Exterior production becomes more difficult with video (chase the peaks)etc. Thanks, David Christopher

David Mullin is right. Maintaining consistancy throughout a scene when your key is constantly moving is the most difficult. The easiest (and cheapest) way is always keep the sun as a backlight. This will keep good separation and nice look. Add reflectance from the front to even out the skin tones and color or more on the side to create come contrast. Negitive fill, (black area such as such as a 12x black on the side to remove unwanted ambiance and create shadow. Another thing to remember is the old 10&2 photographers rule, (never shoot between 10am and 2pm). At this time (depending on time of year and how far from the equator you are) the sun is over head and the top light can create some nasty down shadows. Since you can't stop production for 4 hours in the middle of the day this is great time to shoot yor close ups! If you have 12x silk, table it, flat overhead. Now light your close-ups with you reflecton media and neg fill. If you have shiny boards bring these in to replace your backlight. On your lens add an ND open up your stop to say T4.0 and throw your background out of focus. All this will drive your director to melt down. Now comes the most difficult job a DP has.

Forget about tungston with blue, it'll have the effect of a flea on an elephant. For about a hundred bucks rent a couple of 4x reflectors with combo stands and sandbags. the " shiny-boards" with a soft side and spot side. The soft(not really soft) will give you a wide spread of light that will give you plenty of fill from a comfortable distance. Add 4x frames, add light spun, light grid cloth or whatever and soften for close-ups. Get 2 sheets of 4x8 foam core, stand it strait-up., about 4' to 6' feet away for a double or single shot and get plenty of fill. Any reflectors will give back any color it gets. Don't worry about the differance in color temp of skylight and sun to skylight only. The only concern if you have HMI's and then you you may want to add 1/4 or 1/2 blue (CTB) for skylight only.

Candles are essentially a pin source casting a hard shadow. Look at the effect of real candle light. Soft, subtile dimming is the way to go. But it really is whatever looks good to you. Candles are like 1600 kelven, very warm. The last time I did it I went with !/2 CTO and 1/2 White diffusion(250), clipped inside the doors on the door assembly face. This way you can use the doors to shape your light. Try using snoots on inkies. And multible source candles, you're maybe better going with soft light. In this case try bouncing tweenies into small (8"x8"?) foam-cor held by c-stands for close and bigger for wide all according to size and stop. Come from 30 degrees under eye level to get that night romantic look. Get use to using c-stands and flags. Control is your friend.

Forget about a polarizer, You'll loose a much needed 2 stops. The windshield is at a 45 degree angle so the only thing refleted back will come from 90 degrees such as street lights that will add to the effect. If you go for the dimming thing try getting e rythm with the street lights. In a city, light comes from everywhere, so anything goes. Glair at night shouldn't ba problem. Unless you have daylight sky and trees, a polarizer is recommended. If you're spending money and you're sweet and nice, grip and lighting house guys may give you a little help in figuring something out. Don' t forget your student discount, 20% to 50% if they like you. From a side view passing background will appear much faster then the actual speed, so slow it down, maybe 15 MPH. Slower speeds will also assist in control all around. Have fun and good luck.

One approach is to rent from a grip and lighting house a 12volt to 110v power inverter that can run off the car battery from either the picture, tow car or both. It s been awhile but I believe they come as hgh 2500w. What is the back-ground, city, country? If it is to City, at 500 asa You'll get mayb T1.4. or 2 so match to that. Country you'll get black. The best look, generally is for the interior to go in and out of light. The most difficult but do-ible is to rent from u-haul a roof carrier and find a way to secure speed rail to the rack. Have two pipes run front to back and two side to side. Make them long enough two overhang.To your lighting grid attach small fresnels such as 200w peppers that run to small hand dimmers whitch you and an assistant can fade in and out from the tow car. take careful readings and mark your dimmers. To the lights you can attach diffusion and color for effect. There are also car kitts that kino-flow Makes that will give you lighting from in the car. If you can keep the wats low you can also get Cigerate lighter adapters. It depnds on how ambitious you are and the dough of coarse. And remember Safety, safety, safety.

What is the current technology involving costs, scan rates? I shot a short film in super 16 about 15 mins. with titles, It was shot on 7218 with dark interor effect. Exterior night source with cast rain and wind effects. I'm concerned with grain with a standard optical blow-up. My exposure at key was 1 to 2 stops under at about 4200 kelvin. I wish to grade the film to effectivly 5500 kelvin and emphasize the color red in one sceen ( blood ). Is going to 2k worth the total extra cost and what is the total extra cost. I have called Cinesite for an estmate. What other alternitives would you recommend. David Christopher