John Sharaf
Forum Replies Created
-
I usually agree with Todd, but not this time! I don’t think it’s 35mm film, because it has neither the dynamic range of film nor the shallow DOF. It might be 16mm shot in reversal stock, but my best guess is 2/3″ Digi Beta. Another tell tale factor supporting my two guesses is the 4×3 aspect ratio, common to 6mm and 2/3″ cameras of that era. Both 35mm and the HD cameras available at the time (Sony F700/900 and Varicam)n were both 16×9.
JMHO
JS
-
Yeah, I figured it out too; you have to download THEN unzip, NOT unzip while downloading. There’s a setting for this.
As regards the other two issues; proper naming convention and ProRes on Sub-Mater Recorder, there were two of MANY issues presented in two whisper room meetings with CML membership and high level Panasonic folks. They didn’t say either was impossible, to the contrary, they promised to look into both of these and many other complaints. I for one was encouraged, but we’;; have to wait and see what happens and how fast
JS
-
Peter,
Simply put, the C-Log compresses the highlights down to 70% leaving room for even brighter parts of the scene to be recorded before clipping off at 100. That’s why the picture looks washed out and gray; because lowering (or chrunching) the gamma also desaturates the color, in the LUT or Color Correction the saturation is raises to compensate.
JS
-
Hi Marcin,
I have successfully read metadata with Abobe Premier and just yesterday tried another reader from Drastic Technologies that works too. Here’s a link: https://www.drastic.tv
The other platforms are catching up and will be implemented soon.
I’m still having problems reading the AVC-Ultra 4K-444 but the 422 seems to play back. From what I understand my 2.3Gh i7 MBP is not powerful enough. I’m told 6 core is minimum for 4K-444 playback.
As far as clip names, yes, that also does seem to be a problem for me, not necessarily matching in the two recorders, but the naming conventions are like a still camera and can not seem to be reset to zero for a new project. The Alexa-like “A001C001” format seems to nest above that but does not readout on metadata. I’ve lodged complaints with Panavision and hope to see some improvements soon.
Good luck,
JS
-
Hi Jon,
I’m located in West Midtown Atlanta and have complete Camera, Audio, Lighting and Grip Services. You can check out my website at https://www.sharaf.net or give me a call at 404-367-6200.
Cheers,
JS
-
Yes, Hyergammas 2 & 4 are the strongest!
JS
-
If I were doing this and money was no object, I’d cover all three walls in LED panels and program various effects or even actual background using the lights to back and sidelight the dancers at the same time (with just a touch of ceiling mounted front light.
-
Late to the party as usual (I am), and I should say I “never” disagree with my friend Dennis and only “seldom” disagree with Todd, but in this case I believe we’re watching an episode of the “King’s New Green-screen”.
The whole plan is doomed by the design criteria that 4-5 kids, and then it seems the filmmaker/dancer in addition, so five people will be dancing in a room 12′ wide”! This is physically impossible.
I have 12×20′ screens (blue and green) and wouldn’t attempt to shoot four moving people against it. Furthermore you need additional space left and right of the screen for lighting.
The only way I could image this working would be to use all three walls in the set, but again the size constraints will limit your ability to light properly and separate the actors from the set walls.
What is it that you want to out in the composite background? Will you even be able to create a “matching” light quality that will make a convincing composite. This is a primary concern in the design of an effect like this.
Even without knowing your answer, I would suggest that you use the practical walls, and perhaps paint and/or prop them appropriately, keep them in the dark as much as possible and let the action play. Is it not the dancing that is the subject of your project?
If I were doing this and money was no object, I’d cover all three walls in LED panels and program various effects or even actual background the light the dancers at the same time (with just a touch of ceiling mounted front light.
JMHO
Cheers,
JS
-
Late to the party here, but a very good and practical chain.
Two things to add to the conversation is the Dynamic Range of the camera you’re using and the feasibility and skill in Color Correction.
The best of the new modern cameras really excel in conditions like these; namely sunny day exteriors where inevitable “hot” zones (like the sky or the street or the sunlight screaming off a white building, etc) impinge on your otherwise beautiful back-lit actor. Shooting in Log (or better in RAW) will preserve the greatest dynamic range (DR) which in the case of an Alexa is 14 stops (at nominal 800 ASA), I believe the C300 that Todd uses come close.
You have to be careful to shoot at the camera’s “native” speed, which is actually determined by an equal number of stops above and below middle gray (in the case of a 14 stop range, that’s seven above and seven below). If you go to 400ASA on the Alexa for example you now only have 6 stops above and eight below, and so forth; so to get the lens wide open for pretty, soft backgrounds and bokeh, you must use other techniques like ND filters and/or shutter speed. These filters can be pretty deep (like 1.8 or 2.1) in full sun conditions, so you must be aware of infra red (IR) pollution and use IRND’s or Hot Mirrors as required by the particular camera system.
Then of course you take your Log images into color correction and giggle everything around. One of the most powerful things you can do is raise the gamma, which essentially is the same as putting light into the shadow side of the face. The caution here is that as you do that, the overall color becomes de-saturated, so now you have to boost the saturation. If you’re inter-cutting to front-lit scenes now you have to “match” the color sat shot to shot. Kind of a house of cards!
None of this precludes the advantage of lighting the scene to the preferred ratio from the start, but as the chain so clearly points out, you might not have the budget for the proper kit and manpower, or even if you do, you might not have the time to work it all.
JS
-
Hi Trey,
Likely a Rosco Lite Pad mounted in the frame. Here’s a link:
https://www.rosco.com/litepad/litepadHO.cfm?menuReturn=litepad
Also there are many types of LED strips which you can customize into different uses from Lite Gear:
Has a similar look and effect of Kino “Bar Fly” which is fluorescent vs. LED, but some of the other lights in the shot clearly are Kino Flo Products, I’m not exactly sure which one you’re asking about, but maybe these links will help you out.
Good luck,
JS