[Bob Cole]

I’d like to take a course from you, Michael. I tend to stick to Cine Gamma and to avoid deviating from the “tried and true” mainly out of concern about producing a usable image. But from what you’re saying, there are some real possibilities that I’m ignoring. Food for thought. Thanks.

[Bob Cole]

[Dean Longfield] “I always adjust the zebra stripes. I’d rather have an underexposed image than an overexposed image,
as it’s more possible to correct in post. “

Zebras set to what? Back in the day, I used 70, but I’ve read that some people use 60 and even lower.

And, how does the gamma setting (i.e.,using CineGamma) affect the desired zebras?

[Bob Cole]

Thank you Peter. Excellent advice. I like the idea of just using a standard “starting point” for grading.

I wonder whether there is a LUT Buddy setting for other profiles besides the Technicolor.

[Bob Cole]

No – my apologies back at ya’ — I should’ve figured that out! And it’s good to know that the Status button had more to it than I realized.

The good news is that my cards have plenty of life left in them. The bad news is that they’ll probably be obsolete long before they stop working. At least I didn’t buy the more-expensive variety of SxS card.

[Bob Cole]

Don, I wasn’t able to find this menu. Could you please give me another hint?

Thanks.

Bob

[Bob Cole]

[Bill Davis] “Obviously, a lamp in a soft box is protected”

Everything else in Bill’s post I agree with, but I recommend covering any bare-faced bulb with a screen, even if it is in a soft box. The material in a soft box is not strong enough to contain an exploding light bulb.

Bob C

[Bob Cole]

I just found your post via a google search. I too edit on a Mac (FCP for now) and have to deliver footage to someone who is using SD Liquid Chrome (.avi files) on a PC.

Did you ever find a solution?

Bob C

[Bob Cole]

[Jonathan Frank] “Which Egg Crate angle have you found to be the most useful”

Good question. I have 40 degree fabric eggcrates for two of my larger Chimeras. I wouldn’t go any lower than that for “real world” situations, personally. I assume, though, that the narrower the angle, the less light will hit your subject.

Oh, you said one was $50 more. Whichever one that was, “must be” the better one.

[Bob Cole]

[Jonathan Frank] “and then comes the ‘guess I need to bite the bullet and get an egg crate’ realization, I’m sure…)”

The egg crate will help to keep that soft light from spreading all over the background, esp. in office settings.

And then for another effect, you may want to buy a 4×4 silk, or a Chimera panel frame (or in a pinch, a shower curtain), and hang it in front of the Rifa – talk about soft light!

It’s all fun. And endless. And I still say the best light is from the window.

But for your run-and-gun interviews, you’ll be enjoying a very big upgrade, just with your Rifa.

[Bob Cole]

Never have used Rifa lights, but to clarify further what Bill said: The physically-larger Rifa lights will accommodate larger wattage lights; but it is the surface area of the front panel, not the wattage of the light, which results in a “softer” but NOT necessarily “dimmer” quality of light. So if you want the maximum softness, use as high-numbered a Rifa as you can comfortably carry, with whatever wattage required to get the exposure you need for your camera and situation. Keep in mind, also, that the further away from your subject’s face is the light source, the “harder” that source will seem. A tiny Chimera, up close, gives a softer effect than a huge Chimera from 20′ away.