Brian Drysdale

LWKS has Acquired ioGates REACT and they have given a talk to the British Film Editors on this and how this and Lightworks together with Qscan fit together: https://www.youtube.com/watch?v=RS5vf9j1fwk&t=2200s https://www.redsharknews.com/lwks-acquires-iogates-aps-bringing-highly-secure-review-and-collaboration-to-lightworks This is now included in the new V2022.3 beta release. This feature allows a user with the share link to paste this directly into the application under the Libraries section, which gives a straightforward but powerful way of accessing shared content and editing it immediately. There are audio improvements, including a Native 'Noise Reducer' Effect (Lightworks Create/Pro only), a new Startup Audio Plugin Scanner Functionality (Lightworks Pro Only), also looping a section of a Clip/Sequence, and 40 Music Tracks for all users via the Epidemic Sound Library Integration (Lightworks Create/Pro only for the first build). Plus an Enhanced Audio Plugin Parameter Panel. More information can be found here: https://forum.lwks.com/threads/new-lightworks-beta-version-2022-3-revision-135550-now-available-on-windows-linux-and-mac.248601/

If you zoom at f3.4 or stopped down beyond that, you won't see the ramping. The ramping is usually a design trade off to reduce the size and weight of the zoom lens. To have the same stop at longer focal lengths, the lens would need to be larger. Some Angenieux film zooms have it and the Canon is based on a broadcast zoom lens, so see below. Since it's a common feature on broadcast zoom lenses, this extract from this site ( https://members.tripod.com/camera_dave/lens-theory-2.htm )explains the reasons, "If you have zoomed with a zoom lens open to full aperture, you may have noted a drop in video level at the telephoto end. This is called the F drop or "ramping". The "entrance pupil" of a zoom lens changes in diameter as the focal length is changed. As you zoom toward the telephoto end, the entrance pupil gradually enlarges. When the entrance pupil diameter is equal to the diameter of the focusing lens group, it can not become any larger, so the F-stop drops. That is the reason for the F drop. To eliminate F drop completely, the focusing lens group, (the elements in the front of the lens), has to be larger than the entrance pupil at the telephoto end of the zoom. It has to be at least equal to the focal length at the telephoto end divided by the F-number. To reduce the size and weight of a zoom lens to make it easy to use for hand held cameras, we have a trade off that makes it common to have a certain amount of F drop or ramping at the telephoto end. For better composition effect, however, in some studio zoom lenses the focusing group is made large enough that no F drop occurs. F drop is a major determinant of the value of zoom lenses used in live on-site sports broadcasts, which require a long focal length and must frequently contend with twilight or inadequate artificial illumination. As many people know, movie camera lenses are rated by a T-number instead of an F-stop.The F-stop expresses the speed of the lens on the assumption that lens transmits 1OO% of the incident light. In reality, different lenses have different transmittance, so two lenses with the same F-stop may actually have different speed. The T-number solves this problem by taking both the diaphragm diameter and transmittance into account. Two lenses with the same T number will always give the same brightness."

Interesting, the colour of the moon also tends to vary depending on how high in the sky it is, same as the sun. From memory, moonlight seems to be most blue in maritime environments, of course, that could just be subjective. The full blue convention may be a carry over from day for night, when tungsten film is traditionally shot in daylight without an 85 and DPs not wanting to lose any light output from daylight lamps when shooting large night exteriors, especially in the days of 50ASA and 100ASA film stocks.

Moonlight has a colour temperature of roughly 5600K, since it's sunlight reflected off the moon. So, usually full colour temperature blue gel filter is used on tungsten lights or daylight colour temperature lights are used with tungsten film stocks for a moonlight effect. Of course, you don't have to use that convention and you can go for a less blue effect instead, it depends on the look you want.

Here's the Arri video presentation:

You can register for the announcement of a new Arri Super 35 camera on 31st May at a virtual event. https://www.arri.com/en/camera-systems/cameras/arri-camera-systems-keynote-2022 I gather from leaks that it has: 17 stops of Dynamic range(2.5 more stops than current models), 6.075 um photo-sites 4.6k open gate (28mm x 19.20mm) 4608x3164 75 fps max arriraw

It's a pity that Ilford no longer make motion picture film, they've got an interesting range of B & W stocks.

I suspect the method used may depend on your budget. A good bonnet mount (e.g. a beam type) should be solid enough, however, having the actors driving the car while giving intense performances can cause safety problems. The main issue may be creating consistent rain, which would suggest having the action vehicle on a trailer, with the rainmaker and its water supply on the towing vehicle. An alternative is to use a LED screen for the background and shoot in a suitable "studio" space, but you will need a suitable lighting rig. Doing this would require having access to suitable facilities.

Lightworks Version 2022.2 has been released and is available for download. https://forum.lwks.com/threads/new-lightworks-release-version-2022-2-revision-133968-now-available-on-windows-linux-and-mac.248250/ The new features are listed here: https://lwks.com/lightworks-whatsnew/ They include: Apple ProRes Decode/Encode Certification, this new integration will now work on Windows, Mac and Linux. Supported 10/12-bit Export codecs (Lightworks Pro Only) The new Export options are as follows: AVID DNxHD HQ* (Wrapped as .MOV or .MXF) Apple ProRes (Wrapped as .MOV) Apple ProRes 422 (Proxy) 10-bit Apple ProRes 422 (LT) 10-bit Apple ProRes 422 10-bit Apple ProRes 422 (HQ) 10-bit Apple ProRes 4444 12-bit Apple ProRes 4444 (XQ) 12-bit Panasonic AVC-Intra (Wrapped as .MXF) Sony XAVC (Wrapped as .MXF) Cineform (Wrapped as .MOV or .AVI) Redesigned 10/12-bit (SDR) Decode Pipeline Clip LUT Support.Lightworks 2022.2 now comes bundled with LUTs from various camera manufacturers (ARRI, Canon, GoPro, Panasonic, RED and Sony) giving Lightworks users the ability to display camera manufacturer LUTs. Lightworks Integration With QScan (Lightworks Pro Only) On the same page, there's also a new video guide that takes you through the features on V2022.2. Part of a continuing series of new video tutorials to assist users to learn Lightworks.

The sixth build of the Lightworks V2022.2 beta is now available. https://lwks.com/lightworks-beta/ Features added include more options for Apple ProRes proxy creation (Lightworks Pro Only) Improved inter-project asset copying, including moving the process to a background task Improved speed of WAV exports (Lightworks Pro Only) Increased WAV file export size limit to 4Gb (Lightworks Pro Only) Also, various fixes.

An article on the book: https://www.provideocoalition.com/the-cine-lens-manual-book-has-arrived/

Not cheap, but it looks packed with info on Cine Lenses. https://www.cinelensmanual.com/

There have been a couple of builds over the last week and the fifth build of the Lightworks V2022.2 is now available. https://lwks.com/lightworks-beta/ Features added include an option for displaying the Graticule on to of the graph on the Video Tools panel. 'Reveal system logs' button within 'System Settings, an option to zoom in on the Histogram graph. Added ability to display QScan format events on task completion and improvements to speed up startup when QScan is configured. Also an update to the latest Blackmagic RAW SDK (2.2) Plus fixes

They made useful optical accessories. Things like the adapter that converted standard 16 zooms to Super 16 or 2/3" HD zooms to Super 35, the latter being handy if you're shooting natural history with a RED, when you wanted a large zoom range.

A point to remember with moving lights is the continuity. Of course, this depends on the action and how you're cutting the scenes together. However, there are a lot more lighting options today than there used to be in the past, although the range may be restricted by the budget. Certainly, you should test before you begin filming. I agree about the size of the car interior being important. The first car I shot a film in turned out to be pretty near ideal for this because of its large interior.

One advantage is that there's less traffic at night. It's certainly possible, I've done it on a few films, both on film and video. As mentioned, the main danger is having the actors act and drive at the same time. On these productions, we had the camera mounted on the bonnet (hood) for some set ups and occasionally on the side. On point to bear in mind, you may not see much outside on an empty street when filming in a car, just the street lights in the distance and their reflections on the windscreen.

Just to add, the UK Government has the Film and Television Production Restart Scheme, which works: You will need to check on what each country offers to assist on insurance cover on film & TV productions.

In the UK, they're now managing to shoot a full of productions, without the actors in shot wearing masks. You should check on the current Covid regulations on film productions in Canada. Vaccinations, use of masks plus regular Antigen Rapid Tests should reduce the chances of an outbreak on a production.

The second build of the Lightworks V2022.2 beta is now available, Main features: [url]https://lwks.com/lightworks-beta/[/url] Features added in this build include: 8/10-bit encode options according to GPU format for Apple ProRes, Cineform and Uncompressed, performance improvements for Apple ProRes decode/encode Performance improvements for H.264/H.265 decode Full resolution decode of 12-bit H.265 The ability to generate Apple ProRes proxy files (Lightworks Pro Only) Plus more flexible parsing of user effects files Also, various fixes.

For a short, it's common to get the music composed for it, it costs a lot less. I know someone who got a song cleared for a short, but it limited the exhibition life of the film because of the costs. The copyright lasts after the artist has died, so you have to deal with the estate or whoever holds the rights, plus clearing it with the composer.

It really depends on how the DP likes to work and if the gaffer is going to be rigging and setting lights without the DP being present. Traditionally, they used foot candles on feature film sets.

If shooting video or digital formats, it's very unlikely that you'll need a spot meter. An incident meter is handy if you're doing a lot of lighting, especially on larger or more complex set ups, you can also use this to set the exposure, but even then it's possible to work without one. These digital cameras have their own displays in the viewfinder and having a correctly set up monitor aids lighting a scene. I had a spot meter when shooting film, but it rarely got used, the incident meter was the workhorse.

The first Beta build of Lightworks 2022.2 revision 133209 is now available. https://forum.lwks.com/threads/new-lightworks-beta-version-2022-2-revision-133209-now-available-on-windows-linux-and-mac.248026/ New features include: Redesigned 10/12-bit (SDR) Decode Pipeline Clip LUT Support.Lightworks 2022.2 now comes bundled with LUTs from various camera manufacturers (ARRI, Canon, GoPro, Panasonic, RED and Sony) giving Lightworks users the ability to display camera manufacturer LUTs. The existing Video Tools have been reworked and redesigned to be visually more appealing, accurate and performant, especially when working with the new 10-bit media. Supported 10/12-bit Export codecs (Lightworks Pro Only) The new Export options are as follows: AVID DNxHD HQ* (Wrapped as .MOV or .MXF) Apple ProRes (Wrapped as .MOV) Apple ProRes 422 (Proxy) 10-bit Apple ProRes 422 (LT) 10-bit Apple ProRes 422 10-bit Apple ProRes 422 (HQ) 10-bit Apple ProRes 4444 12-bit Apple ProRes 4444 (XQ) 12-bit Panasonic AVC-Intra (Wrapped as .MXF) Sony XAVC (Wrapped as .MXF) Cineform (Wrapped as .MOV or .AVI) Apple ProRes Decode/Encode Certification, this new integration will now work on Windows, Mac and Linux. Lightworks Integration With QScan (Lightworks Pro Only) Plus some fixes.

This is all old technology, if you can get a zoom lens with a shorter viewfinder(commonly used on CP16s) with a damaged lens section, you might get it cheap enough to just swap over the V/F.

On any dog leg V/Fs I've used the lens was fixed. The longer V/F probably rotates up and down so that you can access the camera mechanism for threading the film, rather than operating the camera. This would fit with the common operating style during the period that these lenses were used.