John Sharaf
Forum Replies Created
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First off, let’s use the proper terminology; syncing the cameras refers to locking them in timing, usually so they can be used on a switcher ithout glitching. Another reason to sync cameras is to assure complete frame accurate time code in multicam environment, which you’ll want in addition to matching thew cameras which is really the basis of your query.
Syncing the two cameras is accomlished by taking the composit or y signal from the first and inputing that to the genlock (in) connector on the second and setting the seconds’ menu to external sync. Both cameras needto be set to the same frame rate and drop frame status.
Matching the two pictures as you’ve already discovered is not such a simple recipe; the only real good solution is to engineer the two cameras in a lab setting with controlled light, a proper chart (like a Dsc chroma du monde), a wwaveform/vectorscope and the skills of an experience enginner/ camera shader. On set touchup uing all of the above also helps.
Once cameras are setu this way, by white balancing on location you will be in the ballpark for the minor color correction that is normally done in post. In addition proper exposure maximizes you match and cc possibilities as does constructing the elements of the two shots to match, such as similar colors in the backgroun d, lighting, etc.
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Dana,
Sorry again, can not be done with that machine.
Can do with a PDW-U1 Reader/Writer or as I said, the PDW-HD1500 or 1600 Deck.
The PDW-U1 is cheap, under $3K to buy or rent for $100?
JS
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You need a PDW-HD1500 or 1600 Deck to play tapes made in the PDW-700 camera at 422 MPEG 50 Mb formats. Sorry!
JS
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Dennis,
Why don’t you tell us how you really feel?
Unfortunately I have to agree with you in everything you say, but I do hold out hope that, as I like to say “the pendulum swings in both directions.”
Right now, obviously the state of the economy requires that there be no major capitol expenditures or additional expense for things like “improved” or “quality” lighting, even though there are new technologies like LED’ lights which essentially will pay for themselves by savings in heat, efficiency and bulb life (although florescents do as well at a lesser cost).
The challenge is to do a good job with what you’ve got (as I’m sure you are doing vis-a-vis the Royal Wedding coverage). It’s what I do everyday; fortunately I have a proper kit with which to do it and am willing to take a reduced rate for it (it’s already been paid for many times over!)
As we all know, and have learned through the numerous repeated levels of slashing costs, that “there are more than one way to skin a cat”, meaning some days I make the money with the light rental, sometimes the camera rental and others the labor; pick one, not two as the old expression goes!
The pendulum will eventually swing in the other direction (in my lifetime I’m not so sure?) where quality is noticed and appreciated, or where quality and artfulness distinguish one show or network from another. At that time there might be some accommodation towards increased investment or cost.
I am finding with my own business model that there is quite a bit of momentum towards larger imager cameras and PL mount lenses, and this is an area I have invested in heavily with Arri Alexas and now the Sony F3’s. Just as I “trained” my customers in the early days of portable HMI lights by teasing them with the benefits for free and then charging them once they began to ask for it, I’m doing the same with these new cameras, with great success. So much so that I rarely have an Alexa in house for my own use.
Now I know we’re straying a bit from lighting, but I suggest that a consolidation of camera and lighting is a natural thing, one need not operate the camera (although I often do) to be the 1st Cameraman, Lighting Director, DP, DoP or whatever you choose to call the job.
In the case at hand, perhaps the solution is buy a light or two on your own that will make a noticeable difference in your work, because an artist must really please oneself and find the satisfaction there. If you ever move on from your current job (and that’s inevitable) you’ll have the makings of your own light kit with which to continue the pursuit of creative lighting, which is the reward unto itself.
JS
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Brenda,
Don’t feel too bad, PAR lenses break all the time and aren’t too expensive to replace. In fact in the “old” days you often received a set of lenses with each new globe you purchased.
I find that the one’s that break the most are the frosted fresnels, which are flat as opposed to bowled like all the other lenses. The problem is exacerbated when you use scrims, as the metal heats up and if it touches the glass, this is where the fracture occurs. I wonder if you were using a scrim at the time?
When you replace it, buy the glass and use your old len frame holder, you’ll save a little $$$.
JS
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Bob,
The Cine Gamma settings in the EX1/3 and F3 cameras mimic the HyperGamma settings ion the Sony Broadcast cameras. They make a gamma curve more like film than video with extended toe and shoulder. with the highlights it’s like an aggressive knee curve that crushes the whites down so you hold more detail before it’s clipped off (white clip).
As far as using pure blocks of white (like a white backing or cyc) it’s more common to put that value at 80ire. A window about the same. You want to be careful about making too large a portion of the frame a 100% video as it can distort the transmission and/or audio.
JS
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Simeon,
Your instinct is correct to want to shoot at dusk, but the “magic hour” does not last long, so it is advisable to use it for the wide or master shoots that you otherwise couldn’t light with the kit at hand.
Your challenge then is matching the rest of the shots (now done in full darkness) with the earlier wide shots. This might not be that difficult if they are smaller and more confined.
In general to shoot night, use a backlight as the key. this keeps the scene dark and more like night as well as separating the action from the background. Use controlled fill judiciously on the faces and action you need to see.
Another alternative is of course shooting day for night, with a blueish filter (or no 85 correction), underexposing and again using the sun as key from a backlight angle. This si another excellent way to shoot wide shots, masters and scenics that you otherwise would not be able to light.
JS
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Check out the Doc on producer Robert Evens, called “The Kid Stays In The Picture”, here’s imb link:
https://www.imdb.com/title/tt0303353/
I recall some really nice three dimensional still work in it.
JS
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Yes, I assumed that was the case. Modern computer technology however can accomplish the moves and effects better than you could with camera movement (eith live action or animated), unless the scale of the art was very large.
The alternative of using .jpeg or similar files in the computer (assuming you can get high quality reproductions of the art in question) will yield a much better effect. With museum art there is usually very nice catalogs published in color with high quality images, or you can take still photos at 4K type resolution to input into AE.
If that’s the photographic method you choose, don’t be afraid to shoot horizontally on vertical pictures (and visa-versa) as you can twist and resize in post. The objective is to make the art fill the frame, making as many pixels as possible.
JS
JS
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OK. Now that we’re past that, the irony is that this type of film, which used to be best shot on an animation stand (think camera mounted on a vertical arm with flat copy lighting and combination up and down movement with coordinated follow focus) is now best accomplished with a scanner and computer software.
Not being completely post-production literate in this genre, I’m only guessing that something like After Effects would be the best software; perhaps others with more direct experience will chime in with recommendations.
The scanning of course should be done in as high a resolution as possible to .jpeg or .tiff type files and then the movements, fades and dissolves, etc. done with the software.
Good luck!
JS