Hunter Mossman
Forum Replies Created
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I’m with Rick. Test drive before you drive off the lot. Rent some light panels and or go into your local rental house on a slow day, bring your camera and shoot a couple quick tests. Rent a couple and shoot some test interviews at home. Working with LED’s is a bit different from Regular Tungsten fixtures. They have huge advantages but you will need some time with them to really dial in placement, diffusion, and color. I use them a good amount for certain applications but they take some getting use to.
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
Also, I think that lens has focus presets built in. I’m not sure how well they work but you may be able to set a focus preset at your first and then final position and switch between them as you dolly. Might not work but worth a try.
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
Are you using the stock lens? This could make this shot tough because the focus ring on the stock Cannon lens doesn’t have a hard stop making follow focus marks and any other marks for that matter unusable. I remember years ago shooting with the XL-1s and using the manual lens instead to get full manual control. over the focus, zoom, and aperture. Pretty sure Cannon hasn’t released an HD version of this lens. More light to decrease DOF is a good idea as well as the “reverse shot” plan. But with the stock lens it’s one of those “feel it out till you nail it” type of shots.
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
For scraps, I use a milk crate with cardboard dividers separating CTO, CTB, Diffusion, +- Green, etc. Each scrap rolled individually with a c47 clipped onto the end. For 4′ sheets I use and old beat up Tripod bag as a “gelly” roll.
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
What’s your post workflow? From P2 Cards to NLE what steps did you take to ingest or convert the footage? Are the dropouts completely random?
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
Seems to me that each shot it’s own setup with transitions added in post to give the appearance of a lens push.
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
It would help if we knew a bit more about what kind of test shots you’ll be doing. How exactly are the people using the glow sticks? Is this for a glow stick company? Are people dancing with them in there hands? etc. Can you use any glow stick brand? Or are you stuck with one in particular.
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
I’ve had a couple show up on set before. They seem to work ok. Pan and tilt seem fluid. These were brand new units however. I will say that the plastic construction and overall durability factor seems a bit sketchy. If your looking for a head and sticks that’s going to last you a long time and have a good resale value I would go for Sachtler or O’Connor. Even a refurbished used one would last you longer and re-sell later for much more.
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
Erik,
Sounds like you’ve got a pretty good plan. You might want to get the Green Kino tubes to go in your background fixtures. This will give you and extra pop on your green wall and make keying a breeze. Just make sure you keep your subject away from the wall a bit to avoid any spill.
As for your 3 point setup for your subject. I’m not familiar with those kit’s in particular but I will say that you might want to go with cheaper fixtures for your green wall and spend the $ on a couple Kino’s and a small ARRI Fresnel (backlight) for your subject since these will be adjusted and moved around a bit. Your Flo’s for the green could be anything.
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
What the HDMI would be good for however would be hooking up to a LCD or plasma at a home or office to review footage with a client for example. One cable gives you great picture and sound. Probably more of what they had in mind when they added the connection to the camera.
Hunter Mossman
Director of Photography
http://www.huntermossman.com