Mark D'agostino
Forum Replies Created
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I’m curious if someone from Panasonic is following this string and if he/she has any thoughts to add.
Mark D’Agostino
http://www.synergeticproductions.com -
Hi Robyn,
If this was shot with your 900 then put the tape in the camera’s deck.If your camera is set to 1080 and it plays fine then it’s 1080. If it play s back all blocky and screwed up then it’s 720.Mark D’Agostino
http://www.synergeticproductions.com -
I haven’t used B4B but have worked with Rathbone Eneregy, https://www.rathboneenergy.com/ . Ron Rathbone has a wealth of battery tech knowledge and is quick to share his strong opinions. His website is worth the visit. They re-celled some of our bricks and BP90s a few years ago and the batteries worked better than new and we could still use our A-B charger. Since getting our HDX900 though we switched to the A-B Dionics and they seem to last forever. Now, regarding Mark Suszko’s story about the hydrogen cells…seriously?! Man, I’ll never complain about the old BP90s again.
Mark D’Agostino
http://www.synergeticproductions.com -
Thanks Dennis for the advice. I do tend to warm my backlights often however I also love the look of a cooler, (white,not blue), backlight when doing a warm overall lighting. I’m defintely going to try the 1/4 minus green. By the way, bastard amber is my all time favorite gel.
Mark D’Agostino
http://www.synergeticproductions.com -
I have used a Sennheiser MKH 60 for location sound and for interviews interior and exterior for the past 15+years. I use a lav only as a last resort such as when the shot’s too wide to get the boom close enough. I just think a boom sounds better because there is a separation from the voice and the subject’s body that is more like we normally hear others speak, (unless I have my head against the subject’s body but that’s another uncomfortable story). I totally agree with Tom, Brian and TY regarding distance and placement.
Mark D’Agostino
http://www.synergeticproductions.com -
If it’s a large area with talent moving across a wide shot and you see them head to toe, I start by lighting the walls and floor with large soft sources to get everything as even as possible; keeping in mind that you need room for the talent/prop lights With that done I then concentrate on adding the lighting for the talent and props. If you’re killing all shadows in the final composite then this is relatively easy. If you want shadow,say a single shadow from a back rim, then I light my talent to match the eventual background and tweak that and the studio soft sources to find a good balance of interesting talent light and even studio light. I avoid a direct back light because of the glare, (There is a gel I found years ago that can be put on your key light that acts as a polarizer. When you rotate the barn doors it kills the glare. This is only useful on a fresnel and I never could use it because it took about 1-1/2 stops from my key and all my sources are relatively small).
Mark D’Agostino
http://www.synergeticproductions.com -
Hi Dennis,
If you add 1/4 minus green and the cto to the backlight and not the key do you tend to see an odd color rimming the back or do you keep it subtle enough to not notice? I’m guessing if I need my back/rim to be bright and white for effect I wouldn’t need the correction anyhow since it’s already overpowering the potential screen spill.
I mis-typed above and did mean 1-1/2 – 1 stops under key. I always do that because our studio is small and our typical location green screens are in small spaces so I’m trying to lessen green bounce. For simple MS green screens we did indeed get better results when we added the green gel. I obviously can’t do that when we are shoot head to toe stuff with the actors moving across the studio.Mark D’Agostino
http://www.synergeticproductions.com -
I tend to light my greenscreen to about a 1/2 – 1 stop below key. I also found that adding green gel actually gave us a better key.
I shoot with an HDX900 and have found we have to work a bit harder to pull perfect keys because DVCProHD is compressed evn though it’s 4:2:2. In theory, (since we don’t own one), a camera using an AVC Intra codec would propbably do a better job pulling keys but we own the 900 and its shoots beautiful pictures so we make it work for the green screen stuff. I’m be curious if anyone else agrees with that.Mark D’Agostino
http://www.synergeticproductions.com -
While I’ve never attached a jib to the back of a truck I’ve had some luck simply letting some air out of the tires and running them soft. This would be in addition to other dampening ideas, not a replacement for.
Mark D’Agostino
http://www.synergeticproductions.com -
Sorry if my post seemed to assume Tyler mount. I just related my experience as an example of how even when using time tested tools the reults can still be problematic and that testing is crucial. On one job, after testing with HD and seeing the micro-vibes,I did mount our SD camera, Sony550, to the Tyler to see if micro vibrations we were seeing were isolated to the HD camera. The SD stuff played back with the jitter dramatically reduced…same copter, same mount, same day. Fortunately we had budgeted for testing that covered the extra hour of flight time and camera swapping. We still had to shoot that day with HD so we did and then stabilized in FCP and that, while time consuming, worked beautifully.
Mark D’Agostino
http://www.synergeticproductions.com