[David Hodge]

Craig,
Well, I did read the response. I need complete scenes with actors moving within the frame for a number of green screen scenes. I have had the most difficult time trying to find locations that fit what I needed and would let me film dramatic scenes (no action, no explosions, no guns, no blood to cause damage or make a mess.) So, it is necessary to film the actors and place the set around them with walls and furniture and the whole bit.

I have a chromatte back on a manfrotto frame that pairs with a reflecmedia from litering. This takes care of even lighting. I also need a couch with one actor and two chairs opposing with actors in the chairs. This will be a scene with a patient and two therapists. The motivated light source is a flourescent fixtures in the ceiling and reflection from a large two way mirror in the wall behind the two chairs. Thus, I need to have very low key lighting with soft light for the talent. I purchased two china light fixtures and filled them with 50 watt color balanced practicals. I plan to hang them above the talent on boom arms, with a drape of 6 mil. plastic hanging between the china balls and the background. (Still with me?)

The basic concept with this is okay I hope. I am not sure, however, if this is going to key well within the compositing program I am using, Shake 4.1. I know I need as much seperation between the green channel and the blue and red to make the best results. I am not sure if this is the best way to light the scene with the look of an office lit with this kind of lights, or if it will be a disaster in post.

Any hints, suggestions, etc? Yes, I will be using PMWEX1 for the shoot (hopefully with the AJA Ki Pro,) and I am hoping that someone is really familiar with the EX1 and has a profile I can start with to get that optimal green screen raw footage.

David

David Hodge
MFA Student Motion Pictures and Television
PMW-EX1, MacBook Pro, 1TB Lacie D2 Quadra, Mac Pro, Adobe Production Suite, Shake, Final Cut Studio 2

[David Hodge]

I’ve been searching for this answer as well. I have a major shoot coming up with lots of composite work to do and I need the best green screen footage I can muster.

David Hodge
MFA Student Motion Pictures and Television
PMW-EX1, MacBook Pro, 1TB Lacie D2 Quadra, Mac Pro, Adobe Production Suite, Shake, Final Cut Studio 2

[David Hodge]

Well, I am thinking of getting a Kessler Crane and hooking it up with their Shuttle Pod system, and the Oracle Controller so that the crane can be programmed to move up and down at the right speed and be played back an infinite number of times in exactly the same way. Then, instead of mounting a camera I will mount a light. Something in a Litepanels 1×1 Bi-Color that you can change light temps would be fabulous. My budget may or may not allow for the 1×1 Bi-Color.

Tom Lowe set up a Kessler Crane and a Shuttle Pod system with Oracle to make programmed moves for time lapsing. It can be seen on vimeo and the Kessler Crane website.

I have no idea how I will mount the light to the crane.

David Hodge
MFA Student Motion Pictures and Television
PMW-EX1, MacBook Pro, 1TB Lacie D2 Quadra, Mac Pro, Adobe Production Suite, Shake, Final Cut Studio 2

[David Hodge]

I haven’t seen Harry Potter 3 as I am not the biggest Potter fan. (Just never had the chance.)

It would seem that doing the lighting effect in camera, on set, practically would be the easiest to make the lighting in the room react as it should to match the light coming through the window. I will have someone working with me that really knows compositing along with NukeX, but making it easier would be good.

I’ve never used a cranking stand like this….but will be checking into it. I hope they have a controller so the move can be repeated over and over again. I am basically a one person crew and as a result limited.

I will be making a camera move on a Kessler Crane Pocket Dolly with the use of their marvelous Oracle Controller. Too bad a crank-o-thing doesn’t work on an Oracle set up. That would be good.

Also, what light do you suggest using…short of a HMI light as I don’t have the production insurance to rent one nor do I have any experience firing up an HMI light.

David Hodge
MFA Student Motion Pictures and Television
PMW-EX1, MacBook Pro, 1TB Lacie D2 Quadra, Mac Pro, Adobe Production Suite, Shake, Final Cut Studio 2

[David Hodge]

Can you do this in After Effects? How would one go about doing “Volumetrics?” A tutorial would be awesome if you can or desire to do one. Would you point me in the right direction where I can learn how to do this?

Thank you for your input.

David Hodge
MFA Student Motion Pictures and Television
PMW-EX1, MacBook Pro, 1TB Lacie D2 Quadra, Mac Pro, Adobe Production Suite, Shake, Final Cut Studio 2