Brian Drysdale
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Posts posted by Brian Drysdale
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An article on the book: https://www.provideocoalition.com/the-cine-lens-manual-book-has-arrived/
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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
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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.
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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.
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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.
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Just to add, the UK Government has the Film and Television Production Restart Scheme, which works:
Quoteby making direct compensation available to eligible film and television producers that incur losses during the course of producing eligible productions as a result of certain COVID-19 related risks, in respect of which they would otherwise be unable to self-insure or access insurance or indemnity in the commercial market on commercially viable terms.
You will need to check on what each country offers to assist on insurance cover on film & TV productions.
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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.
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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 filesAlso, various fixes.
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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.
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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.
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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.
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The first Beta build of Lightworks 2022.2 revision 133209 is now available.
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.
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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.
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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.
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It looks rather like a flag. Could be a light may flare into the lens.
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There's a new update for V2022.1.1 available for download.
This has additional fixes:
Fixed subclips not showing video when opened in an effect vendor UI
Fixed potential crash using ReVision FX plugins
Fixed potential crash when hiding a table-view bin column
Fixed potential crash when attempting to Alt+drag a black FX track segmentLightworks have also updated all of the NewBlue installers (revision 220120). The old installers should be uninstalled and the system rebooted, then the new updates installed.
Next week should see the start of the Lightworks 2022.2 Beta cycle.
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An updated V2022,1,1 is now available to download,
Fixes include:
Audio crossfades can no longer be dragged on the Routing panel
Disabled some unused code regarding Windows devices
Fixed potential instability with Boris RED plugins
Fixed potential crash during export of a sequence
Fixed incorrect audio on MKV sample files
Fixed incorrect behaviour with mixed frame rate sequences and NewBlue effects
Fixed potential failure opening the NewBlue Titler effect when set above 8-Bit precision
Fixed incorrect behaviour when saving column layouts clicking ‘Save’
Fixed instability issues associated with Waves plugins
Fixed timeline marker not updating correctly when mixing with the Mackie
Fixed crash importing VP9 sample file
Fixed hang analysing audio on MP4 sample file
Fixed potential crash during playback (when there are effects with viewer overlays/controls)
Fixed potential crash after expanding/collapsing folders on the import panel (list/tree view)
Fixed Font scaling not working for audio mixer panel valuesThere has been a steady expansion in the range of short video tutorials available on the Lightworks website: https://lwks.com/short-cuts/
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The inverse square law still applies, the lighting contrast ratio will remain as long as you maintain the same relationship.
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Assuming that you're using the stop reading to set lighting levels, rather than a meter that directly reads out the light levels in foot candles or lux, f2.8 is 2 stops from f5.6. That's a 25% difference compared to the other, since a stop is a halving or doubling, depending on which direction you're going.
It's common to keep the same f stop on the camera in order to have a similar look from the lens, so you have to adjust the lighting levels to maintain the contrast and depth of field within the scene. This is often done by putting metal scrims or ND gels on the light. Moving the light closer or further away can also be used, although that introduces other variables regarding shadows etc.
You will get a 4 to 1 lighting contrast ratio if you key with a light at f5.6 and the fill at f2.8 on your meter.
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In that case, I would tend to go for Tyler's shooting ratio range. With less experienced actors, going towards the higher end.
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How much dialogue do you have in the film?
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You used to be able to buy a battery checker with a 4 pin XLR. This put the battery under some load when you pressed a button and gave the voltage. A battery on the way out gave a voltage that crashed when the button was pressed, if in need of recharge it had amber and red LEDs.
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Lightworks is based around the film editing paradigm, although there are roughly half a dozen ways you can use it. There's a free version, but its exports are limited to MP4 720p and Lightworks currently can't export ProRes on a PC (I gather it's on the road map). The free version can be upgraded to a Pro license for a month, but you need to cancel the rolling subscription each time, so that it can revert to the free version.
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Release Lightworks NLE Available
in Post Production
Posted
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.