Gent Ng
Forum Replies Created
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Cool thanks.
Do I have to render it somehow (like alpha….) to be able to place it in to Premiere Pro?
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Anybody else could give me an idea how to do this…? Just for fun… 🙂
Thanks.
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Thanks to all who have made their suggestions. Actually I am interested in both openings. But I think the Reporting Scotland opening actually interests me the most. I did notice, however that Lambie Nairns (the agency who created BBC’s news packages) used a mask/transparency layer for their rings to show the colours (notice that the globe hues are different but same template). Anyway could help me a further bit on this…? 🙂 Thanks!
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Regarding the most prevalent lights, it seems (based on my first location visit) that the cool fluorescents are the prevalent ones, that is, directly under the areas that we’re going to film in, since we’re going to go along the aisles of products to be showcased. There will be some parts of the store that will have pockets of tracked lights filling in to mix with the overhead lights…..
We may as well, as per your suggestion, to move away the lights to soften the harshness (as we did in an earlier episode where we were filming in a car repair shop) and also apply diffusion with frosted plastic paper.
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Don’t think the owners of the store (who kindly offered their shop without charge for this non-profit project) would want to mess around changing the lights. 😛
We’re gonna have to mess around with the equipment that we have, and that’s all we can do. It may or may not be possible to spend another couple of dollars to get the kinos as you described. I’m just a person that has to keep my lid shut and follow instructions, but again I just wanted to double-check with you guys and see what you think about it (since I have no right to suggest anything since I’m still learning the ropes :o) ).
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Yes sorry to confuse you… as stated in my response to Rick, there isn’t enough manpower for a LD or trained gaffer. But you could say that I am the gaffer-in-training, as this is a small, easy project, but with the more difficult lighting situations. Now I realise that working in the field brings more stuff to learn about and get to appreciate what challenges this may bring.
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Haha, I’m sorry to confuse you guys with “lighting coordinator”, as I just made it up. In other words I am just a newbie to real-life, on the job film-making, although my mother is a TV and film veteran producer and director from Hong Kong of many years experience herself (I’ve been on made-in-Vancouver-for-Hong Kong TV series sets when I was a toddler). But I am overall the lighting guy sort of learning the ropes under the cameraman (there is only a crew of 3 people here, the cameraman, me as the lighting kid, and my mother who’s directing the 15-20 minute episodes- and we’re doing these consumer videos for a Chinese-Canadian consumer association here in Vancouver).
Put it this way, I “pull stress” off the cameraman while still learning– or getting work experience– from people regarding the technical stuff. I am still responsible for assisting in setting up and packing up the equipment as well as assist in determining the proper lighting since there is only a crew of 3. I guess you could say that I have the last of the backseat so far in terms of being part of the crew.
You guys are right in the sense that there is no person responsible for lighting and no properly trained lighting guy, so the cameraman makes me responsible for the lighting gear so he can focus on filming. 😛 I believe the cameraman may have filters although I need to check. And yes you guys are correct in terms of spending money. These episodes are funded by the government through film grants, and I don’t know exactly how much but I do know some of these usually have budget limitations and aren’t flexible enough to suit the wildest dreams a crew wants. So it’s a small project but yet of great viewing value– at least to consumers in this sense.
The lighting equipment themselves are personally owned by the cameraman and he determines what gear to use. I just wanted to double-check with you guys to see if there are solutions to enhance lighting under these situations (and as a suggestion to the cameraman himself).
But I do appreciate and thanks for your comments!!
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Hi thanks so much for the tips.
Unfortunately the lights in the shop are a mix of cool fluorescents overhead and hot warm display incandescent. The cameraman does own 2 small tungsten (I believe) open-faced barndoors (and as you know are harsh lights even when diffused with frosted translucent wax-like paper [ a preferred use for the cameraman although your input seems alot better])The camera itself is a Sony 3CCD camera which should handle light tones well (sorry don’t know the model, but not as important I guess). Is this the same problem as you put forward solutions for?
Regarding the 1/2 grids, what types (are they chimera screens?) and/or brands do you usually use? Or am I able to make one myself?
I know the cameraman does have some gels but I guess they’re just transparent coloured plastic sheets 😛 , but I don’t know about the 1/2 plus green…. if not then are there any alternatives to this? Just in case…… 🙂 Thanks for tips!! 🙂
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Oh cool, thanks alot! Although when I render it, it’s just in avi format… is that correct? Just also wondering what are the best settings for widescreen TV’s and projector screens? Thanks.
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Oh I see….. thanks…. the problem is that I have AE CS3 right now and Premiere Pro 2.0….. and I tried exporting it to Premiere but it doesn’t show or work somehow. Does it have anything to do with the version of the software?