[John Sharaf]

Many solutions:

Use off-white lab coats, or dye coats to off white or pastel color. This is often done in Hollywood-type films that have wardrobe departments

Keep light off the coats, by flagging, scrimming or use of more directional source

Use camera setup to help; either with adjustment of knee and slope or use of hypergammas (Sony) or dynamic range control (Panasonic)

JS

[John Sharaf]

Obviously, you’d have to carefully frame and compose your shots and place a large green screen (or several) in just the right spots, but it can certainly be done. The services of a skilled grip and plenty of grip equipment would be appropriate.

JS

[John Sharaf]

Any reason not to use a green screen at the practical location?

JS

[John Sharaf]

Don’t worry, same lens mount!

JS

[John Sharaf]

I believe the user bits will carry metadata indicating the frame rate, at least it does in the Varicams.

JS

[John Sharaf]

Yeah, that’s the difficulty with this particular material. It comes on a 9′ (I think) roll and is somewhat fragile. I end up using it a few times and then throwing it away, but it’s pretty cheap. I think about $50/roll plus shipping, so there’s still some room to make a few bucks by selling it as an expendible.

JS

[John Sharaf]

We commonly use a fabric called “fantasy cloth” which is available in many colors (including gray) from a company called Studio Dynamics. Here’s a link to an example I did last week with California Governortorial candidate Jerry Brown:

https://abcnews.go.com/WN/jerry-brown-uncowed-billionaire-contender/story?id=10870107

JS

[John Sharaf]

Absolutely! The MS-01 Manual Focus/Servo Zoom Kiy includes the SRD-92B and the CFH-3 Focus Grip, CFC-12-990 Flexible Cable and FMM-8 or FMM-6B Focus Manual Module (Lens block).

JS

[John Sharaf]

Hi Bob,

If I were buying a small field monitor today, I would without doubt get the new Sony OLED. Here’s link to catalog page:

https://pro.sony.com/bbsc/ssr/cat-monitors/cat-broadcastevaluationmonitors/product-PVM740/

Contact me off list for a good price.

JS

[John Sharaf]

Mike,

Yes, that’s what I’m suggesting. You are essentially setting all the cameras this way to the same “preset” and allowing the color created by dimming and gelling to affect every camera equally. This will assist you in maintaining a consistent look as well as being faithful to what the Lighting Designer intended.

If you were to white balance to a gelled light you would effectively be “removing” the effect of the gel. This is never what you want. In some cases, people white balance to a “warm card” however, which is slightly blue. In this case the white balance will subtract the blue to make white, thus creating a warmer picture, but in the case of a theatrical presentation, the LD has considered all that in his selection of colored gels and amount of dimming, which also contributes to a warming effect.

If you have any doubts about what I’m saying, simply do some tests with a properly adjusted monitor and you’ll “see” the effects I’m talking about. This is often what it takes, rather than being told, it’s best to make these discoveries yourself. This way you’ll become very confident in knowing the effect of the gels and dimming on a properly white balanced or preset setting, and being able to “predict” the result.

JS