John Sharaf
Forum Replies Created
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Your sources are incorrect; the PDW700 and F800 shoot 1080/29.97PsF. This is the format the 60 Minutes on CBS is shot for example. The confusion is that the camera will not shoot 720/29.97 and when we use it at 720 networks (like ABC) for their News magazine shows we shoot at 1080/29.97 and they transcode back to 720.
The settings are made on the “Format” page in the Operation menu.
Hope that helps,
JOHN SHARAF
PDW700/800 Owner/Operator
Pacific Palisades, Ca. -
As far as a backlight, you should consider the direction of the light as seen outside the window. If it’s back-lit outside (that is the sun is shining toward your set) you could consider adding a back-light to simulate the effect as if it was reaching into the room; perhaps a 400 or 800 Joker on a boom arm, otherwise the brightness and color of the exterior will surely provide enough separation. You just don’t want the backlight to look like it’s coming from a light; violating the direction portrayed by the real sun in the background would surely do this.
JS
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Hi Mike,
You are correct that the scene you describe screams for the use of HMI lighting.
Because I assume that you neither have a generator or are capable of tieing in to a fuse box, you are limited by the capacity of 20 amp household service, perhaps two (or more) circuits cold be found in close proximity to your set.
The largest unit that you can plug in to a household circuit is a 1800 watt ARRIMAX. I’d suggest you rent two of these; one for a key and the other as fill. You will not need a background light presumably because the exterior through the window is sufficiently lit.
You’ll have to stage the shot in such a way as to eliminate the reflection of the light in the window (which in this case acts as a mirror). You can do this by aiming at a diagonal towards the window and using a large black flag (like a 4×4′ Floppy) to obscure the other light in the mirror.
If you can’t locate two ARRIMAX lights, next best choice is 1200w PARS or 800w JOKERS.
Good luck,
JS
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Bob,
#12/3 SJO (water resistant) is a standard “stinger” cable in use for lighting work, but technically is rated only at 9.3 amps. In practical use it’s common to load the circuit until the 15 or 20 amp breaker blows, so anything less that #12 wire is inadvisable. Furthermore you can expect voltage drop with heavy loads at longer distances, more so with thinner wire. Best practice is to use heaviest wire, calculate load and occasionally feel the cable and connectors for warmth!
JS
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Sounds like operator error – failure to roll! It wouldn’t be the first time this happened to somebody.
JS
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Hi Nathan,
That sound like a particularly bad idea for several reason; the first is that in the real world I’ve never actually encountered such a vehicle, so the audience consciously or sub consciously might wonder what’s going on. Of course if your project has a setting in the future or is a science fiction story where this peculiar truck bed setting would enhance the effect I’d retract my criticism.
If you never see the roof, it might work to construct the sides with darker canvas cloth, such as you might find used in such a truck and make the roof out of silk to allow in the soft diffused light you correctly seek. It would not be inexpensive to manufacture such a set. This is typical in many box trucks that have a white frosted plastic roof to illuminate the interior during the day.
From a lighting point of view, staging the action essentially in a white tent would be problematical, unless of course you want the actors to appear in silhouette. Is the covering complete including the back entry way or is that open to the daylight to allow a light source to enter? Is all the action in the daytime and/or at night? Obviously this would affect the type and quality of the light?
Also from a logistic point-of-view is the truck actually driving down the road as you shoot or being shaken to simulate travel. The lighting on the outside of the truck can indicate movement and or locale.
You might watch a movie that was just released where the whole film takes place in a closed trunk of a car. It was shot by James Mather the founder of the Digital Cinema Society.
Needless to say to do this convincingly will require considerable thought, planning and skilled execution.
Good luck,
JS
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In LA there’s Sony Factory Service in Burbank, or you could try Mike Luna at Lunatek
https://www.linkedin.com/pub/michael-luna/13/474/78b
He’s very good, cheaper and faster.
JS
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Hi Tommy,
Haven’t you heard that “film is dead”?
If you insist, here’s a real nice looking Aaton package on ebay for $4999:
JS