Leo Ticheli
Forum Replies Created
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Unfortunately, what you are looking for does not lend itself to a one-man band. Anything large enough to cover more than a close up face shot requires a huge overhead frame and silk with very sturdy support. Any wind and you’ll quickly discover some sailing lessons. These rigs take a lot of time to erect and require a good sized crew to man them.
There is a very simple solution to your problem, however. Just carefully choose your locations and time of day. Low sun falling on the subject’s back will solve the squinting problem and give you a beautiful 3/4 backlight. Avoid shooting when the sun is high and overhead and don’t shoot with the sun falling on the subject’s face and in their eyes.
A small reflector can help you paint the face hotter on one side to add three dimensionally. If you can find a pure white one, a popup automobile sunshade will serve very well at very low cost.
Good shooting!
Leo
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This sounds very suspiciously like, “a poor workman curses his tools.”
Really, the key feature of shooting HD is the immediate viewing of the image. How is it possible for the material to be rejected long after it’s shoot?
My guess is somewhere along the line “creative differences” cropped up. Maybe the cinematographer was incompetent with the lighting/VariCam (unlikely) or, more likely, someone in power just didn’t like the look that was achieved.
Good shooting!
Leo
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First, you should test the cameras for yourself; for most people, it’s a major purchase. Surely Panasonic or your closest dealer will arrange a test for you.
Do you need variable frame-rates? That depends on the work you do and the kinds of work you want to do. For me, under and over-cranking are essential, so the extra cost is worth it.
For those who do only dialog, for example, all that’s needed is 24p, so the 900 might be the way to go. You can always rent a VariCam if you only rarely need variable frame-rates.
Good shooting!
Leo
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I wish I had a dollar for every time this question has been asked.
If you are an ex film shooter, you already know the answer. It’s always the same. No.
There are software programs of varying degree of success that will emulate the look of 24p from both 60p and 60i. Nothing will really give you the subtle motion blur of the longer shutter duration of 24 fps vs. 60 fps and you may or may not like the way the footage looks after it has been processed.
The real magic of 24p with a 180
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Please read the information more carefully; 76″ is the height of the stand collapsed.
Really, did you read the description at all? This stand is used to support large overheads; it’s obviously taller than 6′-4″!
The stand is over 20′ fully extended.
Rigging can be dangerous; please use more care!
Good luck,
Leo
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Matthews Hi-Hi Stands.
https://www.msegrip.com/mse.php?show=product&cat=413&products_ID=25071
Be careful…
Good shooting!
Leo
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Welcome, Steve!
Very happy to have you here and delighted to see that your accident did not slow you down!
Best regards,
Leo
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Some of the most popular (although I’m not so sure that’s a plus) effects and techniques have been born of our mistakes and limitations.
I don’t know if it’s actually true, but I’ve heard that the floating type technique came about when a very clever edit team observed a stability problem with a system and decided that it actually looked great and called attention to the text!
Remember the “Bad-cam” technique? Lot’s of very shaky and horribly composed shots cut to a good beat. Almost seems un-watchable now, but boy did it have it’s day! MTV brought us a lot more than music.
I guess it’s the old saw about lemons and lemonade!
Best regards,
Leo
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Take the number of that Tape Stock company out of your address book.
Never call them again or accept calls from them; they are either larcenous liars or hopelessly incompetent. There is absolutely NO DIFFERENCE in the tape or the plastic cassette.
The only difference is the color of the case and the running time printed on the label.
By the way, this has been covered like a rug many, many times.
Good shooting!
Leo
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My first suggestion is, don’t do any job you can’t do properly. Sure, you should reach a bit, but guaranteed failure is not a career builder.
Since you are probably going to forge ahead anyway, here’s enough rope to hang yourself.
First, you can turn off the fluorescent lights! Just rotate or remove the tubes.
Light your screen as evenly as you can with the 300’s; use some diffusion on them to get a softer pattern.
With the 650 and as large a piece of light diffusion as you can come up with, light your subject from 3/4 front, or as far to the side as you need to avoid the shadow on the screen. You can fill with foam core.
I’m betting you don’t have a waveform monitor, so try to use your auto iris to find a level on the screen that is the same as the level on the subject. Just turn off the 650, check the level on the screen, then turn off the 300’s and see where the level is. Use scrims or more diffusion to make them about equal in level. Of course you will not shoot with auto iris on!
If you have an attack of rationality, move to a better location.
Good luck!
Leo