Glenn Hanns

Im sorry but your way off here. Black and white motion and even still photography is becoming a lost art. proper B+W photography is not a colour image with your saturation at 0, there are alot of factors that influence the "percieved" colour of objects in BW. Colour filtration is the main concern for BW. What looks like lovely red lips on a woman can look like lips that have frostbite in BW. Filters provide a way of controlling negative values at the time of exposure, these alter the relationship of different areas of colour. Try exposing a BW daylight shot with your SLR and then take another one with a red filter#29 and see the difference. If anything id say BW is much harder than colour. Cheers G.

Hi all, Just thought it might be interesting for everyone to think of techniques to eliminate camera, boom or actor shadows. I know I often get caught up lighting a shot just the way I would for say a still photograph only to find that in a particular part of the camera move we get camera shadow in the shot. Finding the suspect light and modifying it to the detriment of the initial shot. Obviously this is particularly a problem when the camera is close to the subject. Sometimes I float a soft china ball fill to help, even shifting fill sides to accommodate movement. Anyone have other tricks up their sleeve? G.

Sure source lighting is everywhere including one big one at night! Convention is based on something called reality!

Can they be carrying a lantern? This will help sell the "night" effect and give you some motivated fill if they're in the shadows. A night scene that is golden?

What type of tubes did you use? Where they kino's? G.

Here in Australia there is an extra setup cost to shoot regular 16. !

The seconic L508 is a great meter for a beginner, It doesnt give you shutter angle variants to your stop but anyone can calculate these.

I should of gotten you to do my transfer Brent!!!! LOL

The canon doesnt have 200,000 more pixels its just marketing hype. They've only shifted the green CCD horizontally 1/2 a pixel and included these in the pixel count. Extra pixels? NO! If anything the Pan has more pixels! 410,000 in 4X3 as opposed to canons 345,600 in 4X3 since Panasonic doesnt do 16X9- yet. From Canon: "Each CCD sensor utilizes 461,760 pixels when recording in 16:9 Wide TV Mode, and 345,600 pixels in 4:3 Standard Mode" "also incorporates advanced CCD technology called Horizontal Pixel Shift which, by horizontally shifting the green CCD one-half pixel, "

That reminds me, I havent paid my lab bill !. LOL

Hi Dominic, No it was neglab that did the process. I did underexpose a stop when shooting. On a slightly different note- what I thought was strange though was when looking at the setup scene files on the panasonic AJ-SXD900 website I noticed that the SkipBleach setup is exactly what my transfer looks like. I didnt run a colour or gray scale chart on the head nor was I there for the transfer. I did make it clear to all though that I was doing a skipbleach test and I spoke to the lab prior to processing, Werner was very clear on what I wanted Dom. hhhmmmmm. Is this the normal look of skipbleach? or am I missing something?

Maybe kino should create a circular solid tube like a ringlight but "filled in" so that when looking at reflections in peoples eyes you will see a lovely round disc instead of a thin line. Does anyone know of such a light?

FYI David i've worked with Russell Boyd where he also loved to double bounce onto foamcore sheets with fresnels. So as you say what ever works!

Well I've just done a test roll of 7274 200ASA and bleach bypassed the neg. Hoping for a high con low saturated look I was suprised to see the telecine transfer was LOW con and blue! Having shot under tungstan lights in a controlled environment Im left scratching my head. Anyone know where I went wrong? Does the telecine chain need to have a different setup for bleach bypass or was my requested "one light" a mistake.? Cheers G. :(

Why dont you get a dat audio version of the song at 2fps and run the camera at 2fps with the band and actors in the same shot and have the band play in "real-time slow motion" to the synced 2fps audio and then your foreground will be speed up with motion blur and you Background will be "normal" speed. Glenn Could also try something a little less severe like 10pfs.

If your going the digital route theres a need plugin for combustion, AE and Apple Shake called Twixtor that will intelligently interpret between frames. LINK

try: DOF

I also like to light like this but one time on set I was told that placing a light far away from the diffussed frame was the same as having the lamp close to the frame as far as drop off (not exposure) was concered. When the light passes through the silk/diffusion it now becomes the source so any gain (as far as less fall off) with the inverse sq law theory prior to the light hitting the frame is lost. Any thoughts?

Hi, Just been asked to emulate the work of Rodrigo Prieto on 21 grams, does anyone know what process he went through(chem/optically). I thought it looked like bleachXpass in parts so I was going to shoot 18 Xpass and push 1 stop rating at 2000asa. I might run with 1/2 blackfrost as well. Any thoughts?

I think tring to quantify something so subjective as lighting and come to the consensus that there is "one" great DOP is futile. Personally I like the work of and not exclusively Piotr Sobockinski, John Seale, Dion Beebe, Connie Hall, Caleb Deschanel and Slawomir Idziak. I think Im drawn to a naturalism in lighting that each of these flourish in.

Hi Steve, You could get 2 more DP's and buy a couple of chimera softboxes, that way you can either be hard or soft and have enough punch for larger projects with just the DP's. You can get the egg crate for the chimera which will control your spread as well. Photoflex make a version of chimera thats half the price if your not stuck on name brands. The Rifa-Pro 88 would be good for highlights in the BG.

1.The green layer is only less sensitive (and thus less grainy) in Daylight stocks NOT tungsten stocks which have about the same sensitivity with the BLUE layer just a little MORE sensitive. 1. Yes lighting your screen to 1/2 - 1 stop over helps to get rid of "muddy" keys and does not affect your colour saturation to the point where it becomes a problem. Using traditional incandescent lighting can add too many other color wavelengths (most notably "yellow") to the screen making keying more difficult. A more accurate method would be to simply light the screen using colored gels to filter your light to as close to the color of your screen as possible. Another would be to use a light source that only emits the desired wavelength. Kino Flo makes a lamp called the Kino Flo Super Green that does just that. Move your foreground as far from your background chromakey to reduce spill. By placing your screen at a 45degree angle to your camera you can reduce the amount of chroma bounce back to the subject from your CKey screen light/s. Do not use any diffusion on the lens as this will break up you F/G - B/G edge and affect your key.

Thanks Atavist, I thought this could be the culprit, ill have to upload SDI through FCP as the Panasonic AJ Half deck doesnt have a firewire out and spit it back to DV via FCP firwire. G. :rolleyes:

Hi all, Have a prob. I recently transfered some footage shot on DVCPRO-50 (16X9) that straight out of the camera looks wonderful. I then transfered this to miniDV via composite to an Panasonic DVX-100 and have noticed colour artifacting on very fine details like grass on wide shots. I used an 1/2 Blackpromist on the Mattebox so I hadnt expected "colour blotchiness" on fine datail. Im assuming this is a function on the MiniDV's sampling but wonder how I could get rid of it. Any suggestions. Glenn.

The last picture was of the rotating reflected light from other ars street lights etc, heres another one. The street lamp is above the car and rotating but in this shot it has completed an arc and the car rof is unlit.