John Sharaf
Forum Replies Created
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T-Stop refers to the actual “transmission” factor of film and video lenses, taking into account the amount of light absorbsion that the numerous pieces of glass the light passes through reduces.
F-Stop is a mathematical calculation of the focal length and iris opening, indicating the “speed” of the lens.
When you read the F-stop on a lightmeter, and set the same number as a T-Stop on the lens you’ll have the corresponding exposure. If the lens was marked in F-Stops, you would be slightly underexposed.
JS
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Anything with intersecting horizontal and vertical lines or fine, contrasty detail, like a sign or chart with writing on it. Try it, tells us if it works.
JS
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Jeff,
OK, that’s first mention of EX3! Yes, that camera usurps control of back focus and automates it. You have no choice but to use the auto function. I don’t know of any other camera that does it this way. The process I described it the universal method for every other type of camera that has a manual BF setting on the lens.
JS
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Jeff.
A bulls-eye chart is nice to set back focus, but not necessary. zIt can easily be set as Michael says, BUT always set the iris at wide open to shorten the DOF as much as possible so that you can make the most accurate setting.
So, set iris wide open, zoom in and focus on an object 10′ or more away, resize to widest focal length and set backfocus to sharpest focus on same object/distance. Repeat.
Voila, backfocus is set. It’s not that unusual to have to reset each time you mount a new lens, in fact it would be foolhardy not to check the backfocus every time you do so.
JS
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Daniel,
We do this type of shot all the time for news and magazine shows. On your shoulder, the body acts as a stabilizer to take some of the vibration and road chatter away.
Best advice is to stay as wide as possible and overcrank (slomo) slightly if you have that capability (meaning if you’re going to a 24p timeline_.
JS
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Hi Rick,
That’s an affirmative; the HD-SDI output of F3 conforms to RP-188 standards and includes embedded audio and TC.
JS
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Fischel,
If you spend any more money at all, the most efficient use is exactly as you suggest, that is hiring a Lighting Director or Gaffer who can work out the proper design and implementation. It probably can be done with the lights you’ve already bought with the addition of proper grip tools.
You’ve suggested your own best solution!
JS
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Fischel,
You must consider the white board as if it’s a mirror and not aim any light directly at it. I would build a wall of 4×8 white foamcore and light is so that it creates a baselight for your subject and the board. If there was a shadow it would be only one and very soft edged.
Then I would give the actor a key light from the side he is most open to as he turns to write on the board, being very careful to keep it off the board itself, with a flag or other cutter.
Voila,
JS
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Noah,
I think that’s a good idea.
I for one have been selling off my tape Varicams when I can, and can report there is hardly a market out there for these cameras. I got $5K recently for a pristine H model with low hours and was glad to get it. I spent the money of media (SxS) for several another file based camera systems (Alexa and F3).
I will always cherish the work I did with these cameras and remember its place in my own HD history and experience. Panasonic’s invention and implementation of dynamic range control was a significant step towards imitating the quality of film and was essentially copied by Sony with their HyperGamma settings. Now the evolved availability of Log curves (S-Log, C-Log, etc) has brought us even closer to the film effect by allowing extended dynamic range of 12-14 stops, evenly spaced in over and under. It is the improvement in electronics resulting in higher nominal speeds (like 800ASA) and exceptionally quiet picture (noise free) that is now letting the most modern Digital Cinema cameras claim superiority over film itself.
I personally wish that Panasonic had not been so timid with it’s large sensor camera development so that there would have been more competition to the Sony F35 and now F3 initiative, as obviously health competition is good for the consumer, in this case professional cinematographers.
I would not believe for a long time that larger, professional shoulder mount cameras (like the Varicam) would ever be replaced by anything so small as say the Sony F3 but I’m coming around to that position. I think the technology, both in cameras and recording has advanced so far now that very small devices, resembling consumer equipment of the past are now producing images equal to film, and now the most determining factor, as it should be, is the creative and technical skills of the operator/technicians and not the cost of the equipment they are able to obtain; within reason if course, no flip-phones, only 35mm sensors and 10 bit recording!
In my participation in various Creative Cow forums, I believe the most stimulating discussions come in the more creative venues, like Lighting and Cinematography, where technical questions and answers relate directly to issues encountered by filmmakers and technicians with actual creative dilemmas. That is not to say that equipment specific forums such as this have no value, they do, so I second your suggestion to bring this site up to date by including all the current variants of the original Varicam.
JS
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Brandon,
As you already know, what you need are “thin” soft lights, that won’t take up much space and also emit little heat.
I’d definitely recommend
Kino Flo florescents; 4’Singles or Doubles for the green screen and 2’Doubles and Fourbanks for the foreground key, fill and backlights. The newer “BarFly” units are even more compact and probably brighter, so I’d give them a good looking over as well.By keeping all units of the same type (even conventional Kinos vs. the U-tubes) you’ll minimize color mismatch, that’s why I wouldn’t mix the flos and LEDs. LED’s for everything will certainly cost more to purchase or rent.
JS
JS