Brian Drysdale

Manufacturers provide charts for each light, which show the light levels at various distances. https://www.arri.com/en/learn-help/lighting/tools-apps https://www.arri.com/en/learn-help/lighting/tools-apps/apps/arri-photometrics

Lightworks V2023.1 has a number of new features, these include: Custom layouts in the fixed layout, with this feature, users can now create their own custom layout templates and define the layout of their workspace. HDR workflows, Lightworks can now detect HDR format from media files, including MOV, MXF, and MP4. Video mask effects, users can now draw and create masks, including Ellipse, Square, or Complex Shapes and apply them to various effect categories. Effects improvements, including being able to select from hundreds of custom and user effects and installing from within Lightworks. The import panel now has the ability to import OpenEXR media and animated GIFs. The export panel has received several enhancements Details can be found here: https://lwks.com/lightworks-2023-edit-smarter/ https://forum.lwks.com/threads/new-lightworks-release-version-2023-1-revision-138994-now-available-to-download.249506/#post-264678

Samecine made ready to shoot cases for various film cameras. The camera basically floated between the bottom foam and the foam in the lid, the foam was cut to the shape of the camera, so that it offered the best support and held it in position. There were compartments in the remaining space for accessories, batteries and magazines. The foam was high density stuff, so it had a long life,

I'd be surprised if sound people would call themselves cinematographers, sound designer and variations of that seems to be the current trend in the post production audio department. You do get the term used in CGI or computer animation, where they use computer generated lighting.

You could test using phase cancellation of the camera noise. It might work for limited use on some types of shots.

The first build of V2023.1 beta is now available for download. https://forum.lwks.com/threads/new-lightworks-beta-version-2023-1-revision-138007-now-available-on-windows-linux-and-mac.249065/ HDR Workflows are added, with exporting sequences as an SDR or HDR deliverable (Lightworks Pro Only) to supported codecs.The OpenEXR format has been added enabling the highest quality floating point interoperability. Export sequences as an SDR or HDR deliverable (Lightworks Pro Only) to supported codecs. The OpenEXR format has been added, enabling the highest quality floating point interoperability. Also: The ability to draw/create effect masks. Create and Define Custom Layout Templates (Fixed Layout Only). This is to make the Fixed layout easier to navigate for first time users, along with making it more useful and tailored for seasoned Lightworks professionals. Added functionality icons, improving the layouts and making functionality more discoverable. Effects and Transitions Improvements (Fixed Layout Only). The new layouts allow for much better discovery of features without having to move out of the existing tab. Note, this new ‘Tiles’ option is not currently available in Flexible layout but should be ready very soon. OpenEXR media Support Note: Only OpenEXR files typically used for video post production are supported by Lightworks. Others such as those including ‘z’ information, ‘Deep’ images or ‘Stereoscopic’ images are not supported.

My late 1970s Ronford F4 Samcine case has the telex and cables details. The basic design concept continues due to former Samcine Case employees starting their own companies.

You may find that you can only use the music for a limited time. I know of one short that could only use the music for a year or two, which reduced the screening life of the film. Having the music composed for the film isn't unusual with shorts. There are new or even experienced composers who want the experience of film work.

I suspect there will be more in the series. Some new ones: The Digital Bolex https://www.youtube.com/watch?v=RQ9JKCpbC9M The IKononoskope A Cam https://youtu.be/u5N5zXJT0pU

The Dalsa is the top one in the first post: https://www.youtube.com/watch?v=I5b9d18rdrY

Regarding the F900, the video centres around its use with Panavision lenses on the Star Wars film. BTW I've used the later Panavision F900 that they rented out, it's a heavy camera with its customized body and Panavision zoom.

I thought that abandoned was the wrong title for the series, having seen one or two cameras flagged as future videos. I've used the F900 and it was around for many years, although the Penelope Delta did fall into the category. Perhaps they also mean abandoned in the sense of no longer used or abandoned by the industry and/or the manufacturer. Fran 8k https://www.youtube.com/watch?v=GAhLe4f_Fd4 Sony F35 https://www.youtube.com/watch?v=NT85yb6mUdE&list=PLQZkJfDdY7uApTeybPHpCgIHxA_v_auzf&index=3 RED 28k https://www.youtube.com/watch?v=a9mgkx9C8wg&list=PLQZkJfDdY7uApTeybPHpCgIHxA_v_auzf&index=9 The first URSA https://www.youtube.com/watch?v=JtDl4Vmw1p0&list=PLQZkJfDdY7uApTeybPHpCgIHxA_v_auzf&index=10 Panavision Genesis https://www.youtube.com/watch?v=NJh7guRTQew

This appears to be a series of videos on abandoned cameras, in this case the Dalsa 4K: https://www.youtube.com/watch?v=I5b9d18rdrY The F900: https://www.youtube.com/watch?v=ugt4Dl9nGo4 The Arri D21 https://www.youtube.com/watch?v=7Hd87IYYCw8 The Aaton Penelope Delta: https://www.youtube.com/watch?v=5SXTzw6sOUw The AJA Cion https://www.youtube.com/watch?v=HNLmX3bZZ5I

Lightworks version V2022.3 is now released. Audio has received most of the attention in this release. https://forum.lwks.com/threads/new-lightworks-release-version-2022-3-revision-136244-now-available-on-windows-linux-and-mac.248819/ Apart from integration with the IOGates REACT product ( https://site.iogates.com/features/ ) for securely sharing, receiving & reviewing video content in the cloud. V2022.3 includes 200 Free tracks from epidemic sound, Quick FX templates for dialogue and music, improved audio plugin support and new audio controls. Note that a Create or Pro license will be required for some features. More details here: https://lwks.com/lightworks-22-3-sounds-great-biggest-audio-update-ever/ There are also new video tutorials on using these audio features.

The third V2022.3 beta build has been released. https://forum.lwks.com/threads/new-lightworks-beta-version-2022-3-revision-135829-now-available-on-windows-linux-and-mac.248679/#post-259242 This build consists mostly of fixes, but has added abbreviated track names to the VFX/AUDIO tabs and 1.001 factor frame rates for custom format creation. Since these current betas are coming out roughly once a week with only a couple of minor additions with each build, plus the fixes, I will hold off announcing each beta release. The details can found in the fixes and features on the public beta download page found via the above link

The second V2022.3 beta build has been released. https://forum.lwks.com/threads/new-lightworks-beta-version-2022-3-revision-135680-now-available-on-windows-linux-and-mac.248643/#post-259011 Additional features in this build include the ability to preserve the last search request on the Effects panel when switching categories and keyboard shortcut entry to enable the Magnifier. Plus various fixes.

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.