Anzer Sizov

Hi Stephen, Thank you for a valuable comment. The chance to use those LED panels is getting even thinner now, I guess.. Anyway, I am looking forward to running a little test. Hopefully, those LED panels are going to surprise all of us. A.

Phil, I think all these are working solutions. However, for this one I'll stick to the floodlights. They seem so simple to handle. I've found some green ones and some blue ones. Quite inexpensive, too. The only thing that I can't see before I do it - how many of them I might need to properly cover a certain area. Hopefully, with RED sensors I won't have to use tonnes of these. I guess it's a good idea to just get a couple of those lights first and see how they work. If it doesn't work for some reason I'll keep the lights as practicals/back-lights, anyway. Thank you for your help. Much appreciated. A.

Green lights designed for architectural special effects... I love it. It seems to be another good option that would never occur to me. I'll see into that. I'll pay attention to whether these lights flicker or not when we run a little test. Thank you, Phil! A very valuable piece of information. A.

Hi, everybody. A production I am working with has a coupe of dozens of outdoor light panels (all identical). They pretty much look like this one: Those are 6500K LED light panels with light output of 8500 lm. Obviously, they are easy to operate, powerful, robust, cheap and even weatherproof. So, the producer asks me if we could also light our green screen with those and this question has puzzled me. Has anyone ever tried anything like that? Does it make any sense at all? With green/blue filter? Flicker issues? Any thoughts or experiences shared would be highly appreciated. The camera I'm going to use is Red Monstro. Thank you. Anz

Well, I hope both of these devices do exactly what the tech. spec. says they do. I have not yet tried it myself, but this separate multi-recording feature might be a very convenient tool. Thank you for your support, Satsuki!

Hello Satsuki, I think the option you offer is a very good one, thank you. I was just wondering if there is any way to record some light-weight proxies in ProRes, too - something that escapes my mind. So that no additional transcoding would be needed. I've come across Shogun 7, which could be an option with its multiple input recording. Anyway, thank you for your contribution, Satsuki. Anzer

Hello everybody, I am trying to wrap my mind around the idea of recording the material (in ProRes HQ) and proxies (also ProRes) simultaneously. Does it make any sense? The shoot itself is a series of lectures and promises a lot of data. Most likely I'll be using 2+ Canon C200 cameras. So far I've been thinking about the following: CAM - SDI - EXT.REC (SSD, ProResHQ) - SDI - DIR. MONITOR [no proxies] CAM - SDI - EXT.REC (SSD, ProResHQ) - AJA Ki Pro Mini [proxies] - SDI - DIR.MONITOR CAM - SDI - Atomos shogun 7 [no proxies] CAM - SDI - ODYSSEY 7Q (material and proxies on separate SSDs) - SDI - DIR.MONITOR Any experiences or suggestions shared would be much appreciated. Most likely there is a simple and direct solution which might never occur to me otherwise. Thank you, Anz

Hello, Phil! Thank you for your notes on flicker and high frame rates. I hope I'll be able to run a few tests.

Bruce, 90 fps seems to be the maximum available in this mode, i.e. Open Gate ARRIRAW on Arri Alexa SXT... Going to double check, though!

Dear friends, what should I expect when shooting slow-motion with rather unusual fps for a standard 25 fps project? Say, 90 fps? My strategy is to try to avoid any 50/60 Hz related equipment and then accurately slow down the footage in post to maintain the correct shutter speed of 180 degrees. Does it make any sense? Any advice would be much appreciated!

This is wonderful. I can now think of an adequte phrase that exists in Russian but being a non-native speaker I could never come up with something so graceful. "Split the difference". Love that. Thank you.

Brian, That is exactly what I wanted. Thank you. Could you think of any words related to dolly-work. For instance, what do you call type of shot when the object in in the center of a circle and you're on dolly circling around? Is it an ark-shot?.. Sometimes English-speaking directors use words such as "punch in". Are there any others of the same kind?

Thank you everyone. I realise I might have not made myself clear. Phil, I'm with you on that. David, thank you for your post. Things I'd like to know are the words like "open up, stop down, lock down" etc. Do you "knock off" the light if it's too much of it or do you "bring down"? Another good example: What do you call a situation when the Sun constantly pops out of the clouds and then hides so that it's impossible to predict if you're going to have a take. We have one word for such situation.

Friends, I'm working in Russia so obviously we speak Russian on-set. And a lot of things we say concerning camera dpt. work-flow are esily understood by anyone who works in the industry here. But all the words are mostly slang. The phrases are boiled down to the very essence so that you don't have to waste any time explaning things. What do you guys actually say on-set when it comes down to working practices such as adjusting f-stop, discussing camera movements, choosing filters etc. Throw anything that pops up in your mind, every bit would be much appreciated. e.g.: do you "open up a knotch, a third etc", do you "lock down the head" or "lock-off" etc. I need these words to work with english-speaking cinematographers. I know I could manage, but I bet there are standard, sharp words for everything. Thanks from Moscow, Russia Anzer