Hunter Mossman
Forum Replies Created
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Happy to be of some help! Good luck to you!
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
First I’d say if you want to match interviews closely over multiple days there’s a couple things you can do.
-Once you’ve dialed the lighting in to where you like it spike the stands of all your lights as well as the camera and chairs position. Take out a notebook and right down all your camera settings including F-stop White balance, focal length etc.As well as all your lighting info. Spot/flood, dimmer levels, gels/diffusion used etc. Get everything as close to the same each day.
-Obviously have the people where the same clothes and hair style etc, take a couple stills of them to help match each day.
-Finally I would very the shots a little to change the framing each day multiple times. Get some answers in a Medium some in a loose Close up etc. making it harder to decipher between which day was which.
-In the end I wouldn’t worry too much about it. If your getting good content and telling a good story no one should notice a thing.
Finally the diva is dim-able and can be diffused and cut down in many ways. It’s in no way “too much” in my opinion.
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
The avi you uploaded dosn’t seem to play. Maybe you should try posting a test on youtube and sending us a link etc. But in any case here are some questions that would help us help you.
-How big is the room your shooting in?
-What type of green paint are you using?
-What are you painting it on? (You mentioned cardboard?? Explain.)
-What is your lighting setup? (what type of fixtures? How and where are they placed?)
-How far is your subject from your background?
-What stop is your green at relative to your subject?Although software has come a long way, green screen work takes time and patience and practice to get right. Things can be fixed in post but it takes a lot of time and money much of which can be avoided by taking the time to setup and light everything properly.
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
You may want to try posting this in the Corporate Video section.
Good luck!
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
I’ve done some live Jazz shows in the past for multi cam setups. For me what comes to mind is deep purples, reds, and blues kicking into some velvet like material hung or drapped around. Very plush and loungy. Don’t know if that helps at all but thought I’d chime in.
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
“Acceptable” not expectable. Darn spell check!
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
I’d go with the Letus. Put the left over money towards some nice glass. I’m personally not impressed with the Redrock’s build and quality. I’ve used the Letus on many productions and have been very happy with the results.
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
From what I remember, a camera’s Lux rating is the cameras ability to create an image from 1 candle 1 meter away from the subject being lit. Therefore, a camera with a rating of 1 Lux can supposedly create an “expectable image” with one candle lighting a subject from 1 meter away. A camera with a Lux rating of 10 would need 10 candles and so on. But what a manufacturer considers an “expectable image” might not be what you and I think is expectable so you always have to do your own tests and rate cameras based on what you consider an expectable image to be.
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
You could try very very carefully putting JUST the filter in a vise with the camera facing lens down and then twist the camera. or a pair of needle nose pliers in each hand, gripping the lip of the filter from both sides and then twisting.
What a pain. Good luck!
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
Every Situation is different. But if your setting your WB for basic indoor 3200 K lighting then:
-Attache your 3200K filter to your light.
-Hold a white card completely covering the frame.
-Expose properly for the card.
-Take your WBIf your mixing a different light source form another camera you’ll want to do your best to match the 3200K your light is putting out. Assuming the other light is daylight balanced, add some 1/4 or 1/2 CTO to the other fixture until it looks close or reads 3200K. Now with both lights on your subject take a WB. It may take some time and tests to dial the colors of the 2 different lights. Make sure you have some 1/2, 1/4, and Full of CTO and CTB to add to each fixture. The filters that came with your light are probably the same or very similar to the steps of color Gel I just mentioned.
Good luck!
Hunter Mossman
Director of Photography
http://www.huntermossman.com