Hunter Mossman
Forum Replies Created
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I would go with Component. The BnC connections are much more stable and will survive more abuse in the field. The HDMI connection, In my opinion, isn’t designed for field use and would likely be an issue after some use. Component can be run 100ft and show little to no signal loss. Where HDMI can stop working altogether at 25 or 30 feet from my understanding. Just my 2 cents for what it’s worth.
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
Have you always noticed this? Or is this a new occurrence. Do you do normal calibration’s with color bars etc. before you shoot?
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
Been beating my Chimera’s up for over 7 years now and they’re still going strong. I can flip that thing out and have it set up in 30-60 sec no problem. I’d recommend them hands down.
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
You are confusing lumens with color temperature. I would say stick to 3200K for all your fixtures. What lighting fixtures are you thinking of going with? What’s your budget like?
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
Richard has the right idea. Go cheap on the lights for the Green Screen and spend the $ on the ARRI kit for your foreground subjects. The Home Depot shop lights are a good idea. I’ve taken high watt construction lights and used blackwrap and diffusion and made makeshift softbox’s in a pinch before. Anything with some good punch you can soften up will work.
As for the ARRI kit. The 1K Open Face with chimera for your key. 650W Fresnel with some diffusion on a dimmer for your fill and a 300W Fresnel boomed off a C-stand for your backlight and your good to go. I like to have a couple flags to cut any spill of the background.
Good luck!
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
Will the numbers match up? No. Will the broadcast world use it anyway? Well just look at the opening for SNL. Shot on a 5DMII I believe. In instances where the 35mm DOF and small camera rigging ability’s are a plus Many networks are still open to the idea. It’s another tool in our box.
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
Marks got the right idea. The “Red heads” or ARRI 1K open face lights are not a good choice in this instance. Kino’s or some other Florissant fixture’s as mark described are the best choice for your frontal lighting. If you can’t afford Kino’s then go with a couple 1K or 650 Fresnels with chimeras (soft box’s). With such a small space you’ll prob have to just cross key your subject with those to achieve a soft even lighting. Look at the beem you spoke of in the ceiling measure the width and make sure it’s staple. Chances are you can use a C-Clamp with baby spud or Furni clamp with spud to hang a couple 300W Fresnels with a little diffusion on them for backlights. Make sure you have access to at least 2 dedicated 20AMP circuits if you go this route. You’ll need the juice for this setup.
The 1k’s with Chimera don’t have to be brand name. You can get different strange brand soft-boxes that will probably work fine for a while. But the backlights will most likely have to be pro fixtures.
Make sure you have lot’s of diffusion of different thicknesses and some blackwrap or (cinefoil) on hand to deal with camera flares and to help soften everything up. A small space can be a real challenge.
Hope this helps. Good luck!
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
I don’t think the 5D Mark II is overkill at all. Probably just right for what your doing.
1. If low light shooting is a must. Then fastest lens you can afford is the one to go with simple and plain. I think you’ll be pretty happy with the acceptable ISO range of the 5D.
2. The 5D uses a full 35mm frame sensor allowing for the full Field of View of the lens’s available. The 7D uses a cropped sensor therefore a 14mm lens on the 5D is really more like a 18mm on the 7D.
3. Defiantly shoot HD. Too many reasons to list. Convert everything you shoot to apple Prores before you edit. I don’t think our computer is as much of an issue as the codec. I’m hoping Cannon will change that codec in the near future giving us less compression to work with.
4. Don’t shrink. Again size is not the issue. It’s the H264 codec. Convert to apple Prores before you edit.
5. Go with what you can afford. An I-mac will do the job. But a mac bookpro will do the job faster and with less issues.
Hunter Mossman
Director of Photography
http://www.huntermossman.com -
I would say no matter the camera or the shoot. 2 or 3 batts and a charger are a must have.
Hunter Mossman
Director of Photography
http://www.huntermossman.com -