Glassblowing themed production with motion graphics, what to watch?

[Sareesh Sudhakaran]

If you want to top what the guy did, at least try to get an f/2.8 zoom lens, even a Tamron 17-50mm f/2.8 is great. That’ll bring the worker out more, since he’s so close to the wall and your angles are limited.

Do you have access to lights? Can you rig your own? That would help tremendously in creating a mood, while not disturbing the existing lights in the facility.

If you’re shooting off the back of the 60D, try to shoot in the Neutral picture style. I like to underexpose by half or a full stop. Focus pulling at f/1.8 will be a real pain, and the ring on the 50mm is flimsy. Can you get access to a follow focus system? If you have lots of time, though, don’t waste money on it.

Check out the BBC’s five shot rule. Google it. Keep it simple, make every shot count. Prepare a shot list and go for the money shots first.

All the best.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[El Jev]

Hi Sareesh, thanks for your input!

I possibly sourced a canon 24-70mm L / 2.8 lens, would this do as a wide angle zoom? the owner wants me to attach a filter though, to protect from heat damage/ flying molten glass on a 1500$ lens, no idea if this is be an issue, as i’d try to keep a more or less safe distance from furnaces/ molten glass anyways, though i really understand his concerns, is there a recommendend filter for glassblowing photography?

I hope the 24-70L has a bigger and maybe even damped focus ring!

dimydium is what glassblowers use in their goggles, it is said to reduce the yellow “sodium flare”, hoya’s red intensifier is made of this same glass. they are very hard to find in belgium in 4 day’s time though. As i will be working with a crop sensor, this would increase the working distance, right?
is it dangerous to film molten glass with an L lens from a safe working distance? a big question

i noticed that video requires lots of light, i’m not too sure about how much light exactly though,I have easy access to 3 400W halogen floodlights, the kind used for construction, could they be any good?
i figure chances of me filming at 200 ISO would be slim, though i hope the footage won’t come out all dark, any recommendations in this area?

in many of the scenes there might be an obvious difference in luminance between surroundings and molten glass, as the glass would be actually luminant, should i under expose to get the glass exposed right, or expose just a little less to give the glass some shine and illuminate a little more of the scene?

it’s a pity i didn’t get the igus rail motorized yet,
it’s a bit tough to get a contstant speed pan out of it right now.
i’m still looking for an easy way to move it at a more or less constant speed

[Chris Wright]

um.. no ones talked about polarized lenses… You’re gonna need those if you want to see the inside of the molten bulb core and not just blinding light in the camera.

[El Jev]

I have 2 linear polarizers for my 18-135mm kit lens,
when put on top of each other theymimic a ND filter, could they beusable? minimum aperture would go to 3.5 though that ight not be so much of a problem, as i’d be filming a flaming ball of glass
it is softer then the 50mm though

polarizer, IR, hoya intensifier dimydium filter,… im getting pretty confused with the filters to use, if any

i’m also wondering wether it be best to film 1080p25fps to have more pixel data for tracking, or 720p to have more frames and possibly a better track..

[Sareesh Sudhakaran]

It might be okay. If that’s all you can get make it work.

Regarding heat, lenses can take up to 50 C, after which point the glue that holds the elements together will cause them to shift. However, I don’t think you should have a problem at one feet. Otherwise humans wouldn’t be able to get that close either! Think about holding a glass of hot water!

Most likely you’ll be shooting at ISO 800. The area looks too small to control halogens, and don’t forget about ambient lighting. White balance will go haywire.. Do you have fire proof diffusion or gels for it? If you don’t have experience operating it, don’t carry it. Carry reflectors, or try to rig a fluorescent box. For the close up shots, you might actually need ND filters.

Simple rule about exposure: expose for the subject. Figure it out on a shot by shot basis. For full texture shoot in the neutral setting. I’m not a fan of the internal sharpening.

Lighting brings out texture. Study the lighting on location. Does the place have windows?

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[El Jev]

Hi Sareesh, thx for all your input! it is greatly appreciated
I’ll be buying a 77 mm filter one of these days, and am now pretty sure it will either be a hoya 77mm UV filter or a circular polarizer, i’m not exactly sure which one yet

i know a polarizer ought to remove reflections and increase saturation without influencing color balance,
though for glass photography the reflections might be crucial?
I just thought of the fact that with the 52-67mm flange i can also use a ( or two) linear polarisers on the 50mm 1.8

a UV filter should filter out, well UV,though i do not know how much UV is generated in glassblowing, as people keep telling me to remember to not stare in the flame, it might generate some…

[Sareesh Sudhakaran]

The UV is only to protect the lens, nothing more. With a CPL you’re always worrying – one more thing to check.

You’ll get reflections without a polarizer. But that’s an aesthetic choice. You’ll never know until you try it! I don’t recommend linear polarizers for video.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.