Brian Drysdale

Check out: http://www.rosco.com/includes/technotes/fi...terFacts_05.pdf http://en.wikipedia.org/wiki/Color_temperature http://en.wikipedia.org/wiki/Mired

I wouldn't worry about those differences. Matching in the half way world between full daylight and tungsten is even more confusing with the CTB working in 1/4s and the CTOs seemingly in 1/3s. I expect that's why Rosco brought out the 1/3 CTB which converges with the 1/2 CTO at 3800K. Assuming 3200K and 5500K light sources respectively. Hmmm... pity I sold my colour temp meter to one of the local gaffers.

So did I until I checked the spec from the filter manufacturers. With LEE Full CTO corrects from 6500K to 3200K (mired shift + 159). Roscosun Full CTO corrects from 5500K to 2900K (mired shift +167). Their 3/4 CTO to 3200 (mired shift +131). A 85 camera filter has a mired shift of + 113 and the 85B + 131. Of course, the lighting filters may not actually do it in practise, but that those are the manufacturer's specs.

Lee have a filter for converting HMIs to tungsten: http://www.leefilters.com/LPFD.asp?PageID=298 Interestingly, the Full CTO is actually an over correction, the 3/4 CTO is the 5600K to 3200K conversion. Most people just throw on the Full CTO - generally I use it mostly for a sunset effect with the HMI, rather than using the HMI with tungsten light, so I'm not that worried about being accurate. Someone pointed it out the other day - just shows you should keep reminding yourself about these things. All very confusing compared to the CTBs.

I'd check with a dealer about the JVC reading both 720p and 1080i on HDV. JVC say it has: "Multi-format output with cross-conversion function", which implies it does, but best confirm that. It also plays DVCAM.

Either buy a CP16 or rent a camera and plan to shoot on a schedule. Shooting sync dialogue driven films with these MOS cameras is a nightmare. The barneys wouldn't quieten them enough for most sync shooting - they're fine with CP 16s which are a bit more noisy than modern silent cameras. However, they'll only take a few dBs off a coffee grinder MOS camera. The alternative is a blimp, which will be big, so you'll need a good tripod that can handle a heavy camera rig.

Great for focusing on walls behind the subject, or focus hunting in shot.

There are two HDV formats: HDV 1 (JVC - 720p) and HDV2 (Sony, Canon - 1080i) If you want to shot progressive the HDV1 is the format, if you want to shoot interlace HDV2. Canon HDV cameras have 24f or 25f setting, which isn't true progressive, but gives a similar effect (seems to be a high quality in camera de-interlacing). In Europe the JVC cameras shoot 25p. You'll need to check the specs on the HDV recorders, but the JVC BR-HD50E only records 720p on HDV, although it will output 1080i. The Sony recorder appears to be only 1080i

The Bolex is great for animation. However, it's a good idea to cover the camera with a lightproof bag if you're doing this sort of animation. We did some drawing in shot animation sequences and had some camera light leak fogging.

One of the guys on DVinfo seems to have been involved in this: http://www.ofview.com/wiki/index.php?title=JVC_GY-HD100_FAQ

Yes, "Spoon" is the feature film being shot in South Africa on the Silicon Imaging camera. This material is ungraded RAW, so you can't tell anything colour wise. I've seen some test grades done by people online and the results are very nice. Very different from the look of the original rushes.

You can set up the HD100 to give you more saturated colours than the factory settings. Unfortunately, you can't really tell what the cameras are giving you unless you have them side by side shooting the same subject. With a graded film you're watching end result after the colourist has adjusted the material, which could be very different to what the camera has recorded. Best way is to test both cameras and see which you prefer colour wise.

Unfortunately, you have to change the Contex mount to an Aaton mount. ICE Film in London might still do this.

The SI is a single sensor camera, so 2/3" lenses aren't suitable without an adapter that allows you to use these lenses on 16mm cameras. It's better for the film to rent a high quality lens rather than buy a lens that wasn't that good in the first place. Although, assuming the SI takes regular 16 lenses, one that might come in that price range would be a Zeiss T3 10mm to 100mm, they were a lot better than the old Angenieux zooms. You can get adapters to mount Arri Bayonet mount lenses into the PL mount. However, you can't go cheap on these because they have to be accurately manufactured.

Absolutely, people are using these smaller cameras on a whole range of different productions in ways that are appropriate for each individual production. Any reviews I've seen to date on these cameras don't point to any one camera being way out ahead, they've each got pluses and minuses. It's a case of whatever works for you and the production you're working on.

--Quote-- This book almost exclusively discusses the Sony F900 (now superceeded). The author is employed by Panavision and, at the time of writing, has no experience with other cameras. The F900 is still out there, although the book is basic, it does introduce you to HD cameras (the F900 in more detail than the others). However, although you could get going on a shoot with the information, it doesn't go into the depth you'd get attending some of the HD workshops. Unfortunately, any book on this subject tends to get out of date very quickly. On the Varicam check out: http://jkor.com/peter/titlesVaricam.html

Canon have announced two new HDV cameras. The XH G1 http://www.usa.canon.com/consumer/controll...p;modelid=14057 and the XH A1 http://www.usa.canon.com/consumer/controll...p;modelid=14061 They look like they could give the Sony Z1 a hard time.

You should look at: http://www.showreel.org/memberarea/article.php?172

The follow focus means that the assistant isn't directly putting pressure on the lens, so you don't get vibration during the adjustments. With some lenses the gearing on follow focus spreads the focus marks out (an advantage on video lenses). If the camera is rigged high, the assistant can see the focus markings and it's easier for them to to reach the follow focus than the lens to pull focus. You can also get extensions for higher angle shots.

Some of the most interesting shots are when the meter says there's nothing there. On one production that involved a lot of night exteriors I shot tests. Throughout the filming that followed, I never used the meter - it was all f1.4.

If you've never worked in the industry it gets you in through the door. You meet people and hear what's going on. Other people in the industry can see how you go about your job. In the UK starting as a runner is pretty normal, then they move up. You don't do much "directing" in the lower AD grades, mostly stopping traffic. If you want to direct, you can make shorts and do some writing between jobs. You'll have the contacts you already developed to help you.

Get an experienced film pilot, they'll be flying the camera, you'll be just be framing it. It's best to use a proper helicopter mount, you're pretty much limited to the wide end when shooting handheld. Although, there is a fair amount of technique in using a mount. Be aware that if you' re filming forest fires there's a good chance of updrafts. Make sure you've got a safety strap on the camera if you're hand holding it. If hand holding be sure that the seat belt can't accidentally unlatch, don't tape it up etc., so that you can't get out in an emergency. Be very aware of safety, there are a lot of rules regarding minimum height and how close you can fly to people and buildings.

You used to be able get a magnetic head that was mounted on a post arrangement that you could set on or off the mag film. I suspect a full track 1/4" head might do the same job. There were special amps for amplifying the output from the head, however, we used to use the mic input on a tape recorder to do the same job. With the set up you've got, the belt drives for driving the film through the viewer used to occasionally slip, causing lose of sync between the picture and sound.

I'd also put tape around the edges of CP mags once loaded, the latches can pop if caught accidentally. They're very easy to load. However, be careful when unloading the exposed film, sometimes the core catches and drops out of the centre of the roll if you rush.

I wouldn't even consider buying a Steadicam without attending a workshop. It's very different to traditional operating and there are quite a few techniques to learn - never mind knowing how to set up and balance the rig. The workshop will also give you information on the various Steadicam models available and different market sectors.