Lucita Jones

Hi, I am having problems calculating how much film I will use to shoot a screenplay for a shortfilm. I will be working with short ends of different lengths and I am calculating which short end I will use for which shot. It is difficult for me to calculate the length of the shot based on the length of its written description on the screenplay, despite that I have been told this is the convention. I know that one page of a screenplay should equal one minute of edited film. I just don't think this is a reliable way to calculate the amount of film I will use to shoot the film, even if I add the amount of film used for threading, slating and double or triple takes. For instance, a 10-page screenplay should, according to this convention, equal 10 minutes of film plus another 10 minutes (2:1 shooting ratio), plus, let's say, 25% for threading and slating. I find it too risky to judge film length by the length of the screenplay and by dividing each page in thirds. What if I have to translate a screenplay written in Spanish into English? (Spanish is lengthier a language than is English, so that means that one scene in the Spanish version will take up more space in a page than the same scene will in the English version. Hence, text length cannot be a reliable parameter for calculating film length.....I know this is the convention producer's use, but how can it ever be reliable???? How would you, as DP's working with a limited amount of short ends, determine the amount of film assigned to each shot based on the length of each shot on the screenplay? WOuld it be better to ask the director to visualize the shot and time its length? Are directors usually willing to do this? I'd appreciate your advice on this weird dilemma I am faced with..... Thanks a lot, LJ

I had mistakingly thought that the lens barrel of the DVX100a was non-perpetual and that it had precise markings. (Unlike the Sony PD 150, which I aboslutely do not like). I haven´t actually put my hands on the DVX, but from what I read in your posts, it seems that although the lens has focus markings, it is perpetual. Since I am a strong advocate of focus changes, (which I have had to give up in video) I would like to know if it is at all possible to set focus marks on a perpetual lens ring that has no marks and if there is any sense in trying to hit those marks after various shots. I`m asking this because with the Pd150 it just did't work. I would zoom in my subject, focus and set the corresponding focus mark on the lens. But after focusing another subject and then coming back to the first one, the corresponding mark was no longer the one. Is there something I am not getting about video? Does the DVX allow for a more precise focus than the Pd 150? Does Sony's HD FX1 offer an improved focusing system in this regard? My choice of a video camera is highly dependent on this matter.... Thanks for your help! L.Jones

Thank you! You are absolutely right about overexposing meaning the same as rating the film slower, or decreasing the EI. Your explanation made me see how confused I was about the whole thing. I understand now that both tests aim at the same result. In the end it is about bracketing the film and evaluating at which reading I will obtain the "best" exposure. So, if the nominal EI rating asks for a T4 and the "correct" exposure according to my test is at T2.8, then I would establish that for that particular stock I would have to either overexpose one stop or rate the film slower to achieve the desired results. Thanks so much. I am reviewing all information I have about gamma and density so as to better understand film stock. If someone could recommend a site with a good explanation on the subject I would appreciate it greatly. All the best to everyone out there. :)

:blink: Hi, I want to shoot some tests for several short ends that I have stored for over a year and would appreciate any help in performing these tests. One book (Ricardo Aronovich) suggests doing a SPEED TEST by adjusting the ISO setting of the light meter to a lower speed than the nominal speed of the film stock that will be tested and increasing it gradually. For example, if I`m testing a 100 iSO film stock, I should start from from ISO 50 and increase the setting to up to ISO 200. As the ISO is increased, the aperture on the lens must be closed in 1/3 increments. As far as I know, adjusting simultaneously ISO and aperture will render equal exposures because of a compensation of exposure. If I am right and all my exposures turned out to be correct and equal, then how would I be able to determine the differences in ISO? The only differences I can imagine seeing are those in the depth of field due to the closing of the aperture. Another book (The Camera Assistant, Douglas C.Hart) explains how to perform a film latitude test and suggests under- and overexposing a scene. Now, would this latitude test also help me to determine the film speed? (If, for instance, the overexposed shot looks better than the "normal", I could establish that those 2 stops of overexposure could be equal to an increase in the film speed of two stops). Which test is most reliable for determining film speed? What should I look for in the gamma of the film to judge its speed? I know its a broad question, but any help will be welcome. Thanks, Lucita Jones

It´s great to hear from photographers with experience, it makes me feel like I am not on my own on this "journey". I hope to gain more confidence as I work more and more on this, thank you for your advice.

EGGCRATES..... Sorry, never seen them. Could you please describe them to me? Can I make them myself? Thanks, Lucita Jones

BACK TO ZEBRAS.... I will start working with the DSR500 which has the options of setting Zebra 1, 2 and 1 / 2 which you mentioned earlier. I would rather work with 1 / 2 to judge the areas with correct exposure (70IRE) and those with over-exposure (100IRE) at the same time. Problem is that there is no visual difference between both zebras, the stripe patterns are identical for both 70 and 100, so one cant tell one from the other when shown simultaneously. Do you have any suggestions? I prefer the zebra swit`ch in the SOny PD 150, which you can access without having to enter any advanced menus pages. You just switch from 70 to 100 to check your exposure. Thanks so much....

The following website from the Society of Television Lighting Directors gives a BRIGHTLY COLORFULL explanation on light transmission, filters and color mixing: http://stld.org.uk/php/index.php?sectionid...=6&contentid=51 I would like to learn more about colored light and color mixing but from theProduction Designer´s point of view. Specifically, how DPs and Production Deigners work together in establishing the color scheme of the set. Any suggestions of where I can research on this? Thanks, -Lucita Jones

Bill> If you don´t mind, would you please explain to me how, by knowing how many fc are required to get a particular T stop, can one estimate how many lights and of which kind-one will have to use? For instance, if my lighting design calls for 32 foot-candles of illumination, how could I estimate what lights I should order? I know it has much to do with personal taste, but how do YOU usually do this? Thanks, Lucita Jones

In terms of the way the light was justified as coming from candles or a fire, consider "Days of Heaven", directed by Terrence Malick and photographed by Néstor Almendros. Lucita Jones

Hello, I am familiar with EV readings and the Zone System, buy I just can´t understand what Harry C. Box means in his book "Set Lighting Technician´s Handbook", regarding the following situation: "The skin tone reads EV 10, the highlight EV 15; the difference is five stops. You can even set the ASA on the spot meter so that EV 5 represents the f-stop on the lens. By so doing, you calibrate the meter to read out in zones; EV 0-10 equal zones 0-X." Could some one further explain this to me? I would like to learn to do this and understand it because I am a firm believer in the zone metering system and this seems to simplify things at the moment of reading exposures. Thanks, LucitaJones