Brian Drysdale

The fourth V2021.2 beta is now available to download. https://www.lwks.com/index.php?option=com_kunena&func=view&catid=19&id=238613&Itemid=81 This latest build resolves a couple of important issues on Mac systems, to do with the Lightworks Console and media handling. There are also a number of other fixes.

Day for night is done during the day time. Usually it involves shooting without colour correction using a tungsten setting in daylight (traditionally tungsten film stock, but it work with digital) , so that the exterior goes blue.

The third Lightworks 2021.2 Beta revision 127893 is now available to download: https://www.lwks.com/index.php?option=com_kunena&func=view&catid=19&id=237935&Itemid=81#237935 This build resolves the issue with Boris plugins on Windows failing to display, along with some other fixes to do with audio hardware on Windows.

Have you done a test doing a day for night interior? You can ND the windows if you're using practicals inside, although using tungsten film lights may reduce the amount required. You need a daylight source outside, HMIs are the usual tool, how large will probably be limited bu your budget, but it needs to to be put through a diffusion frame, to soften the light if you're going for that effect.

The next Lightworks 2021.2 Beta revision 127742 is now available to download https://www.lwks.com/index.php?option=com_kunena&func=view&catid=19&id=237569&Itemid=81 This latest build resolves issues with M1 hardware on Mac and resolves the issue with AAC audio decode playback.

The new build of the v2021.1.1 beta has been renamed as V2021.2 beta and is available for download. https://www.lwks.com/index.php?option=com_kunena&func=view&catid=19&id=237239&Itemid=81 This has a number of fixes and has updated to the latest AVID DNxHD codec SDK. Lightworks hope for this to be the final build prior to release

The fourth V2021.1.1 beta is now available. https://www.lwks.com/index.php?option=com_kunena&func=view&catid=19&id=236174&Itemid=81 This latest build resolves issues reported with memory handling and HEVC media, along with a few other improvements. Lightworks are keeping changes to a minimum during this cycle and hope to be able to release within the next couple of weeks.

The third V2021.1.1 beta is now available [url]https://www.lwks.com/index.php?option=com_kunena&func=view&catid=19&id=235849&Itemid=81#235849[/url] This latest build fixes several regressions that have crept in along with various improvements. Lightworks are still keeping changes to a minimum during this cycle and hope to be able to release within the next couple of weeks. Additions include: Improvements to the export panel to be more intelligent about available/unavailable formats Export formats are now allowed if they can't handle the exact sequen

Commonly, it's the colour temperature of the ambient light is a deciding factor. Alternately, if you wish to create a colour effect, eg a moonlight effect or a sunset effect. There are also colour temperatures in between tungsten and daylight, which can be found on various fluorescent lights, It's worth experimenting, because the most interesting lighting for a scene may not be a straight tungsten or daylight white balance.

This has the feeling that it's going to go around in circles. Cinemas are deigned for projecting the 1'85: aspect ratio, because that's the historical standard in the film industry. You can project your 16:9 film on the same screen, but it won't go to the full width, assuming that both formats are projected at the same height. Will the audience jump up and point at the edge of the screen? They haven't at any screenings of films I know that have been shot on video. If you screen a 1.85:1 film on a 16:9 TV or video monitor and maintain the full height, the picture will be slightly cr

2.00:1 was used by one process in the 1950s, but it never took off. Traditionally, cinemas have curtains (or tabs) that opened to the 1.85:1 aspect ration, and than opened out wider to the 2.39::aspect ratio. some could also do 1.33:1 and 1.66:1. These days many multiplexes just have a large screen and the scope films are projected with not much difference in width compared to 1.85:1 films. The way to think about is that !,85:1 is the cinema standard and 16:9 is the broadcast and video standard. I seem to recall the manufacturing the CRT TVs was also a factor in deciding the

Doing some quick maths, it's more or less 2.35 + 1.33 divided by 2 which is 1.84 or 1.85 if rounded up.

Cinemas are set up for 1.85:1 projection, as is the workflow and the cameras designed for cinema productions. 16:9 can have slight pillars on either side if you're going through the full 2k DCP workflow,. If you don't want to shoot 1.85, no one is stopping you shooting 16:9, many low budget films are shot using that aspect ratio.

No one will stop people shooting 2.00:1, it's easier with digital projection than with film projection. Traditions still occur, especially since some directors like to shoot on film, rather than digital formats.

!.85 is the established cinema aspect ratio, there's only need to use it if you're shooting films for theatrical release. When you're shooting 1.85 you are aware that it's "wider" than !6:9 when composing shots Can project 16:9 films in a cinema, but they don't feel quite as "wide". A number of productions I've worked on have been projected 16:9, it's not unusual at festivals or special screenings. Cinemas these days commonly just project on the same size screen, so 2.35 films tend to look less impressive these days, compared to when the tabs opened up to the full width and scope fil

The ideal head is a Ronford F7, which I gather was originally designed for the NPR. The downsides are that even used ones are expensive and they''re pretty heavy.

Regarding 4 hour films "Lawrence of Arabia" is a near as makes no difference at 3hours 48 minutes. There are films which are longer than four hours: https://screenrant.com/best-movies-over-four-hours-ranked-imdb/ I gather the longest film ever made is a Swedish film "Logistics" which lasts 35 days and 17 hours, which sounds more like an art installation. The discussion seems to moving into movies v films.

The 2nd V2021.1,1 beta is now available. https://www.lwks.com/index.php?option=com_kunena&func=view&catid=19&id=234763&Itemid=81 This latest build fixes a few regressions that have crept in along with adding further improvements to audio handling with hardware I/O. Lightworks is still keeping changes to a minimum during this cycle and hope to be able to release within the next couple of weeks. One new feature in V2021.1.1 is the graphic representation of missing media in transition overlaps. This is an area that causes difficulty for new users.

The Lightworks V2021.1,1 beta is now available. https://www.lwks.com/index.php?option=com_kunena&func=view&catid=19&id=234075&Itemid=81 This latest build is a maintenance release for 2021.1 that fixes some important issues that have been raised recently, along with a few fixes that were not ready in time for the 2021.1 release. Added new keyboard shortcut commands "Save current sequence frame" (which saves the frame from the current record sequence) "Save current frame" (which saves the frame from the focus) "Associates" (which opens the Asso

"The Duelists" has a very practical commentary by Ridley Scott

Operationally, the big difference was that the MK1 Super Speeds had wings, so that you could pull focus with the Arri 16 BL, which had a blimp around the lens. The focus scale was also rather compressed..

Lightworks Version 2012.1 is now released https://www.lwks.com/index.php?option=com_kunena&func=view&catid=19&id=232818&Itemid=81 Lightworks say: "This latest version is probably the biggest release in the last ten years! Changing some of the fundamental foundations to allow us to build a more powerful and flexible product over the coming years." "The overall foundations of the application have been rewritten with a faster and more flexible open architecture. This allows any media to be brought into a project and played at its natural size and frame-rate withou

Lightworks Beta Version 2021.1 revision 126676 is now available on Windows Linux and Mac. https://www.lwks.com/index.php?option=com_kunena&func=view&catid=19&id=232429&Itemid=81 This is the final build now in preparation for release on Wednesday 20th January and has some fixes.

Try grading a monochromic image of the scene blue to see how that looks. In the past, they've shot day for night seascape scenes in B & W film and then printed them blue,.

The 12th Lightworks Beta Version 2021.1 is now available on Windows Linux and Mac https://www.lwks.com/index.php?option=com_kunena&func=view&catid=19&id=232253&Itemid=81 This is hoped to be the last V2021.1 beta before release.It has added improvements for H.265/HEVC decoding and playback and Improved performance with Apple ProRes decoding on Windows and Linux. There are also various fixes.