[Bob Cole]

I appreciate all of the responses. Though ideal, testing and set-up in advance will not be possible. In response to this exact question, Alister Chapman writes, “I have not done scene files to match FS7 to EX1/EX3 etc. But if you use Cinegamma on an EX1 and Hypergamma on the FS7 the contrast will be similar.”

Perhaps the most useful specific information would be: which Hypergamma setting on the FS7 relates best to the EX1R’s stock Cinegamma?

Thanks again.

Bob C

[Bob Cole]

How’d the trip go?

[Bob Cole]

Thank you Blaise.

Great point about the FS7’s range, and testing with a waveform monitor is undoubtedly the right way to do it.

I’m not going to have access to the FS7 until the morning of the shoot, and so I was hoping to get at least a starting point using the EX1R’s Picture Profile settings.

[Bob Cole]

OT: How are you using Netflix in your business?

Bob C

[Bob Cole]

[Marc Wielage] ” you can use lower-res proxies”

I guess you are saying that, if the data rate is low enough, Resolve is capable of fine-grained editing. Would you be able to use that low-res proxy in color correction, and then, match-back to the original footage for finishing?

That seems viable, except that I tend to use After Effects in almost every project. But even then — okay, it’s worth a shot.

I have not tried using low-res proxies; it seems like a great idea, and I would be extremely interested in the experiences of anyone who has.

Joseph, do you think that would work?

[Bob Cole]

John, have you figured out a way to power your VisionSmith ReLamp’ed fresnels from batteries?

Bob C

[Bob Cole]

Thanks, Todd and Erik. I’m transitioning to bi-color LEDs, but to light the chroma key evenly, I like to place the green screen lights as far off as I can. Knowing I don’t have to worry a bit about matching the key and the green screen lights means I can use my old, powerful tungsten broads for that. And that’s going to save me some… green.

Thanks again, and Merry Christmas!

Bob C

[Bob Cole]

Sorry you didn’t get responses earlier.

Can’t tell from the photo, but I suspect that your studio has an advantage and a disadvantage: The truss is fantastic, but the studio might not be wide enough for floor-mounted lights, which makes it more difficult to light the screen evenly. The light loss from 10′ to 15′ is over a stop; from 20′ to 25′ half a stop.

For whatever reason, I have generally seen people using broads, long fluoros, or truss-mounted spacelights (not floor-mounted softboxes), to light large green screens. I’d start with long fluoros on the sides and two of your softboxes from the truss. You need not be very concerned about matching the color temp of the green screen lights to your key and hair lights.

re hair lights: You are right to add those! A large green screen can itself become a light source, so some people put “minus green” filters on the hair lights to mitigate the spill from the green screen. Since it’s a rock band, you could even go extreme on the side lights and backlights – anything to overpower the spill that’s coming from all over that green screen. If the band is too close to the green, that adds to the problem.

Let us know how you do! It’s a challenge dealing with a big green screen.

Bob C

[Bob Cole]

[Erik Anschicks] ” Rosco specifies that using any other glass Pola in front of the lens other than their specially-made View one will result in unwanted color shift. “

Thanks! I used a non-Rosco polarizer. Either I missed that warning, or they didn’t warn us at the time. This was about 3 years back. It will work with a non-Rosco polarizer, and that highlight sheen I mentioned was not terrible – just inappropriate for a job where accurate color rendition was essential. (To be clear: my situation was different from the OP’s – I was polarizing a light source, not a background view.)

Back to the OP… I totally sympathize with your desire to use that view, and you’re brave to try. I too am from Baltimore, and occasionally have the same problem: a fantastic harbor that can be great for a still photo, but problematic for movies because it changes so fast with the weather and clouds. The light has to be just right for the view to “read” as beautiful, and when the light changes, the whole tone of the scene changes dramatically, very quickly.

I would advise: use one of the cheaper gelling solutions (I’ve used Rosco #210 .6 Neutral Density, which comes in a 4×25′ roll) over the big windows. Then grab your wide shot when it looks good, and shoot the rest in MCU. Then, hope the CEO doesn’t want you to be able to repeat the scene whenever he’s available.

Or shoot a “plate” of the harbor on a great day, and green screen the interviews? What do the rest of you folks advise? Not about Rosco ND gel, but about the beautiful window situation. These companies are paying a heap of money to locate with these breathtaking views, and they like being able to use them.

Bob C

[Bob Cole]

re still photography: way back when, my photography mentor had a regular job shooting silver flatware and bowls. Reflections were not just inevitable; they were part of the appeal of the objects. So he built a white, translucent tent, now a commonly available item.

re movies: I had to film a lot of very shiny and bag-like packages on a motorized lazy susan. It was impossible to avoid reflections, so I tried the Rosco lighting gel and a polarizer. It helps. But I avoided it, because it imparted a slight purple sheen to the highlights, which would have “reflected” badly on the printing process we were trying to promote.

For your interview application, this sounds like one of those good ideas that doesn’t actually work in the end. But if it does, you are a hero, and you need to share your solution with us, please!

Bob C