John Sharaf
Forum Replies Created
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Anthony,
Another solution is the Sonnet QIO which is like an expansion chassis that connects to you Express 34 slot and offers two moure Express Slots and four eSata connectors.
JS
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Hans,
The simple answer is yes, the camera can output a “start” signal to qualified recorders that will roll when the camera does. Time code is embedded in the HSDSI signal as will the audio when it is finally implemented in version 3.0 software which we all expect in the first quarter of 2011.
John Sharaf
Alexa Owner/Operator
Pacific Palisades, Ca -
Only if there is sound!
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Hi Sam,
Well yes, it’s exactly the same phenomenon in SD and HD, you’ll need to adjust your shutter to eliminate flicker from the 60 hz lighting you’ll encounter with fluorescents, neons and magnetic HMI’s running on US power.
The magic shutter angle is 150° (1/25 s. x 150/360 = 1/60 s.).
JS
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I meant to say that the LitePanels are “not” really color correct.
JS
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Anderson,
I don’t think that’s a fair conclusion. I for one, will use whatever tool is best and appropriate for the job. I end up committing to a tool by buying it because that’s my business model and the logistics of having to drive across LA to Burbank to pick up a rental and then returning it after the job seems to take all the fun (and profit) out of it. On that basis it is fair to say that I’ve limited my LED light purchases to a few on-camera LitePanels and Zylights. That is not to say that I wouldn’t want some 1×1’s but at this point I find them tremendously overpriced. Furthermore I find that the LitePanels are really color correct, which becomes an issue when you use them in combination with conventional photo grade tungsten units.
There are many pros who swear by these LED lights, and it’s true that more and more examples keep coming to market, including some that imitate the spot and flood characteristics of a conventional fresnel. The qualities of low power, low temperature and variable color inevitably will make these units more practical and common, especial as economy of scale and competition drive the prices down. The bottom line is that at present one can usually find a more conventional unit to do the same function as an LED at a cheaper price; that is not to deny the “sexiness” of the LED technology.
JS
JS
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Maybe Dennis will chime in here too, but having worked on lighting BW on the West Coast many times over the years for 20/20 and the Oscar Specials, I can tell you that we never lit her with softboxes as keys. Always a spot fresnel with a showcard snoot (black and white – with white side out) was used, with a little white diffusion clipped inside the doors near the lens. A 2K zip was most often the fill light coming from below and on the other side.
We varied from this only occasionally when there was overwhelming daylight in the room, usually because of ceiling high windows in every direction. In this case we’d use an 800 or 1200 HMI in a similar configuration.
In all other cases I will use a small chimera as the key, and actually have taken to using two lately, both a small and right next to it a xs, which effectively wraps one light source (and one specular in the eyes) around the female subject in a very glamorous hi-key way. I was always annoyed by the hard chin shadow and occasional hand shadows created my the hard light technique, but who was I to say anything? In addition, more and more the divas are demanding a Dedo or other little spot light just off camera on the key side as a “clean-up”, whereas my inclination is to keep it simple and single source, but somehow nowadays, we’re using six (or more) lights on a high end head shot (that’s counting three backlights).
JS
JS
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Martin,
Having photographed several surgeries in the past I know what you’re talking about, and I think that a small LED light with dimming capability would be a very good choice. While I own several LitePanels, my preference is for the Zylight which also has the ability to dial in any color temperature.
Here’s a link to the unit on the Abel web site:
https://www.abelcine.com/store/Zylight-On-Board-Lights/
JS
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Bill,
I use the Source Fours almost every time I do sit down interviews. To spread them large enough to cover the backgrounds at short distances I equip mine with 50 degree lenses and use a dimmer to control the brightness. It’s true that they are a little awkward to transport and case (although it can be done) so when I travel on airplanes I’ll take a kit of Dedo lights instead, but using them in a different way, usually to create several “splashes” of light or lit objects rather than a wide pattern which the S4 does.
JS
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Two words: Source Four
JS