[John Sharaf]

HI Scott,

Very interesting and informative report on your recent Panasonic experiences to say the least!

You know, what you’re describing is a similar scenario to what’s being going on with Sony and their Digital Cinema Cameras starting with the SRW9000, then the F65 and now the F5/55. Namely that features are doled out slowly over time, or not at all, and in Sony’s case often charging money, making the cameras less functional at best or dysfunctional at worst; and in all cases upsetting to those who bought the camera(s) in the first go round.

As a result, I’ve vowed not to buy any more Sony product, and have been selling off all the Sony cameras I still have, essentially standardizing on the Arri line with Alexas and now the new Amira (which is an incredible camera). Arri only makes professional cameras and is very focused and responsive to their professional end users and owners, and their software upgrades (SUP) often add new and exciting features and utility; internal 4K ProRes for one with the Amira!

I am however looking at the new Varicam 35 seriously, because I do see it placed as a competitor to the Sony F55; starting with weight, profile, ergonomics, picture quality, feature set and price. I’m especially interested in the dual native ISO’s of 800 and 5000. This is some very compelling new technology, and also (like the Amira) with the built in Look functions that carry the metadata in clip file as well as the ability to record dailies with burned-in LUTs at the same time on a separate card.

But you are absolutely correct, there are several “asterics” in the brochure; notably the high speed frame rate at you mention, and also the ProRes function.

Another gotcha is that the wireless functions seem to require an optional piece of hardware. Furthermore, as regards WiFi control of camera functions, so far this has seemed to be extremely illusive. The iPad interface on the F65 worked intermittently at best, Arri had promised this feature with the Alexa at the time it was announced and never delivered the product and while the Amira comes with built in WiFi and Bluetooth, I don’t thing I’m breaking the NDA to say that in testing the Beta Software the WiFi function is not yet ready for primetime (maybe it will upon release?). I think the amount of wireless traffic already in the air makes it difficult to use it in such a mission critical application.

The delay of your software upgrades in the ENG cameras is inexcusable, but the fact is that the camera was most likely made at the behest of a Japanese broadcast network, who had no interest in other frame rates, thus the delay in accommodating you and the few others who might have bought the camera. Furthermore, the group that is making the Varicam 35 is most likely separate from that who make ENG cameras, although they do likely share the same overworked coding department.I’m trying to be kind.

Obviously the thing that Panasonic has going for them with this new product is the goodwill which remains many years later from the original Varicam. The difference is that at that time, the Varicam was the first HD Camcorder that had variable frame rates including 24 and 30 progressive (and even high speed) and had a very workable bandwidth (40% of 100Mb at 24fps) that allowed playback from common inexpensive storage.

This time however, they’re the last player into the game, so it can only be an uphill battle; but the camera market is very fickle, choice of which camera to use has become an economic consideration and is often made by producers, directors and editors rather than camera people. If Panasonic follows Sony’s model with the F55 of “dumping” vast quantities of cameras into rental houses around the market at cheap prices and terms, they might just have a chance!

JMHO

JS

[John Sharaf]

You’re correct that a “reflector board”, even the soft side throws a very strong and harsh light. If this is the only equipment you have available, then back if off so that it’s not as painful. Depending on the size of the shot you can shoot it through a silk or grid cloth too.

There are however other means of reflecting a large quantity of softer light, such as with the use of a 8×8′ or 12×12′ Ultra Grid, Grifflin or even a Muslin. Of course this type of equipment presumes that you have the staffing to build and control it in windy conditions. You can use large tent spikes and rope, or tie it to a tree or a vehicle so that is stays still.

Make sure your production insurance is up to date with the use of any of the above.

The principle at play here is that the larger the size of the light source the more soft it can be and still deliver the quantity of photons necessary to balance the open lighting in the background. Furthermore, remember that it’s completely natural for the subject in the shade to “be in the shade”. You probably don’t want them to be silhouetted however, so find the happy medium.

Finally your choice of camera and gamma setting will have a large part to play. If all you have is a DSLR with limited dynamic range you’ll have to do more with the lighting. If you have an Alexa of Sony F5/55 your camera will be able to hold the highlights and still reach into the shadows.

Good luck,

JS

[John Sharaf]

I’m sorry, but to properly budget lighting, one must know exactly what the job entails.

Staffing could be anywhere from one person to a crew of twenty, depending on the scale of the shots, type of equipment and power and cable run required.

It is foolhardy to say any amount is adequate without knowing more.

As far as labor, typically an DP/LD is anywhere from $600-1000/10 hour day, portal to portal, unless in a studio within the zone, where travel is not included. A gaffer might be $400-500, Best boy $350-450 and electricians 450/day less. Some jobs will require additional grips for rigging at similar prices.

It’s a good idea to rent a grip/lighting truck. Depending on your job, you could choose a 3-ton, 5-ton or 10-ton and tungsten, HMI, Kino Flo and/or LED lighting package.

As lights come in all sizes from 100 watts to 20,000 watts a suitable package should be selected on a tech scout if justified.

Generator power and cable and distro might be required, and condors or scissor lifts to reach highs for mounting and rigging, and don’t forget cable crossovers.

If one were to name a figure that is adequate with out knowing what’s in store, I’d recommend $25000 per day. Otherwise it’s a good idea to budget specifically to the job at hand.

Good luck,

JS

[John Sharaf]

HI Paul,

If you’re going to spend that kind of money, you should seriously consider the Cineo XS TruColor LED lights. The color and quality of light the Cineos produce is of great quality, because of the unique Remote Phosphor technology, and the build quality of the lights is nothing short of spectacular.

Very high CRI’s (actually approaching tungsten light) are produced and remain consistent throughout the life of the unit (30K hours), because the color correction is embedded in a very stable panel away from the heat of the LED elements, and does not change by dimming from 100-20%.

Most if not all other LED lights have the Color Correction painted on the elements themselves, which both change color as they heat up on the day and also over time, not so with Cineo. Panels are available in colors from 2700K, 3200K, 4300K. 5600K, 6500K, Chroma Green and Chroma Blue.

Furthermore Cineo makes a complete line of instruments, like a conventional baby, junior and senior so all your lights can be the same color and quality. They are the 1×1″LS”(150W), the 2×1 “HS”(500W) and the 2×2 “XS”(1000W). In fact the XS is made of two “HS” units with a optional mounting bracket. The HS is said to put out as much light as a 4K Softlight, so one could extrapolate to say that the “XS” would put out as much light as a 8K Softlite at 1K watts.

There’s even a vattery version of the 1×1 known as a “Maverick” and mineature “Matchstix” in 3″, 6″ and 12″ 1×1″ models, conveniently packaged as kits.

Furthermore, another optional mounting system allow you to mount two “HS” units into a “Spacelight” from which a silk skirt can be mounted.

This very versatile and high quality “system” can be seen on their website at https://www.cineolighting.com/

Although I’ve owned and operated these for several years now (I was an early customer) and am total enamored by them, full disclosure requires that I say that I’m now also a dealer. If what I’ve said makes you interested in a demo or purchase, please feel free to contact me off list at john at sharaf dot net.

I still have many Jokers, but really only use them as PARs on backgrounds now.

John Sharaf
Atlanta, Ga.

[John Sharaf]

HI Cody,

Looking into the camera – I often use a ring light to create a glamor look; either by itself with a strong centered backlight or as a fill to another key light high and to one side or the other to create modeling.

The thing that makes these shots work is one catch light in the eye; that’s why I use a key raised high, so that it’s not actually in the eye, only the ringlight (or fill light) is.

JS

[John Sharaf]

Hi Robert,

This is a very astute question, and one which needs careful consideration in the color correction process at the end of post production.

In fact, it’s a discussion you should have at the beginning as well.

Essentially, it’s in everyone’s best interest to know what the final exhibition will be for a motion picture project. This is important in order to determine the recording format, the aspect ratio, the frame rate and all the other things you mention; yet the answer is not always known or based in reality.

The fact is that most filmmakers aspire to theatrical exhibition in a dark movie theater with a screen 40′ wide, yet it’s the rare project that ultimately reaches such a venue. More likely is TV, Computer Screens or even Mobile Phones, and each of these requires a different gamma to faithfully reproduce the cinematographer’s intentions.

In practical terms, what happens is that once the color correction is finalized by viewing on a properly calibrated display (either computer, television or projector) then it it output through “transforms” designed for every intended use. Fortunately the makers of finishing platforms are aware and sensitive to the problems you mention and have built in solutions, just don’t forget about the multiple outputs at that moment.

In a pinch, LUT boxes can usually apply the same transforms on playback but only in an HD-SDI stream.

Another point you bring up is the difference between the film fest and a downtown digital cinema venue. This also is problematical, because there are so many different types of projectors out there; with different resolutions and especially brightness.

Motion picture projectors had standard which were established by industry groups to assure continuity from theater to theater, but now that our projects are shown in so many non-standardized venues all bets are off.

Consumer and Prosumer projectors, like the TV sets that proceeded them have a range of contract, brightness and color controls, so that if you’re forced to exhibit on one of these situations, it’s a good idea to get there early and preview the film and make some adjustments. Be careful though as the adjustments often default to the presets when the projector is power cycled, so make notes or record the settings if the unit has that capability and double check again before the actual show.

Hope this helps!

JS

[John Sharaf]

Hi David,

Yes, shutter off at 29.9 is 1/30th of a second. This will create slightly blurred frames and not what you want. Nominal shutter speed at 29.9p is shutter on at 180 degrees or 1/60th of a second. This mimics the motion of a film camera at 30fps.

Same for 24p, shutter should be on at 180 degrees making 1/48th

At 59i however you’re already at 1/60th with shutter off, so leave it off unless you’re looking for a “skinny shutter” effect.

Another warning is to check shutter speed when you change framerates, that’s when you’ll be making a mistake that could haunt you.

Cheers,

JS

[John Sharaf]

Joseph,

Actually, it’s best to shoot at the camera’s “native” or “nominal” ISO, which in the case of the F55 is 1250. By changing to a higher speed you are lowering the middle gray and begin to loose dynamic range in the shadows. The opposite is true by lowering the ISO you are raising the middle gray and loosing dynamic range in the highlights.

Think of it this wayl when you use the nominal ISO there is an equal dynamic range above and below middle gray. This is how the manufacturer determines that number in the first place.

Use the built in ND’s and others on the lens in a matte box to control bright day exteriors so that you can stay at the native ISO.

When it’s really dark, of course you’ll have to “gain up” as necessary but the sacrifice is both smaller dynamic range in the shadows and noise.

In RAW formats (of which the F55 is capable) when you change the ISO you are not actually changing the exposure on the recording, but only on the monitoring, but it is an approximation of what t will look like after you’ve made a similar adjustment in post color correction.

JS

[John Sharaf]

Hi Bob,

Presumably the camera will see in every direction in covering the subjects from different angles as they sit around the table in the restaurant. The four Jokers will more than light the distant backgrounds in a full circle if placed judiciously. In areas where the background is not so deep or far you could use the Jokers in Softboxes or bouncing of cards to keep the “blue” daylight consistant.

Hope that explains!

JS

[John Sharaf]

Ali,

I’d suggest using the four 800’s as background and night ambivalence.

China balls with small practicals can be hung both ion the scene and as lighting for the people; that way they’ll be both key, fill and backlights by judicious placement and they are very cheap to buy.

JS