Mark D'agostino
Forum Replies Created
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We’ve shot a lot of footage over the years both SD and HD with the Tyler mount. We have found that HD seems to be more prone to “jitters” and that different lenses can increase the effect.The physically shorter in length the lens is the better. It’s also important to have all the proper Tyler lens mount supports correctly installed. I could be wrong but I’d think something more robust than the Z-7u would help, (We use the Panasonic HDX900). As you notice I use words like “seems” and “I think”. Bottom-line is as Todd stated, you always need to factor in time to test your rig even if you’re using the same gear you may have used on a previous flight.
Regarding the 24p problem. I have tested 24p in flight and it looks nice but I have ended up shooting 30p with a half shutter for sharpness due to less blur. You surely should not have needed to go to 60i.
Mark D’Agostino
http://www.synergeticproductions.com -
Rick’s explanation is perfect. The key to what he says is to shoot a test. Different tubes spike green differently and are affected by age. Also, if you’ve shot someplace and figured it all out don’t assume that it will be the same the next time you shoot there. The maintenance guy may have replaced old tubes and may not have chosen the same replacement tube…been there.
Mark D’Agostino
http://www.synergeticproductions.com -
Hi Dan,
If you’re using HMIs add either Rosco Plusgreen or 1/2 Plusgreen to your lights. With tungstens also add either full or 1/2 blue correction to the green. I tend to use the 1/2s since my lights are small and I need all the output I can get and it works just fine.Several years ago a long time DP who developed lighting correction charts for the ASC manual took the time to test several types of fluorescents and sent me specific corrections for each. It was an amazing gift for which I’ve always been grateful. His name is David Quaid. Here’s what he sent. These give very accurate balances but I usually stick to what I wrote above when time is tight:
The increase/decrease refers to the incident light metering
3200K Tungsten
Cool Whites: plusgreen50,(they don’t make this any more though I do still have a roll. It’s basically 1/2 blue & plusgreen combined in one gel) *increase 3/4 stop
SP35:1/2blue, 1/2plusgreen, 1/4plusgreen
*decrease 1/3 stopSPX35: same as SP35
OSRAM FO: same as SP35
SP30: plusgreen, 1/3blue,1/4plusgreen
GE Light White F96T12 LW: 85, plusgreen50, 1/2 plus,
* increase 1/2 stopGE Metal Halide MVR250/HOR U: plusgreen50, 1/2plusgreen,
1/8plusgreen, 1/8blueHMI:
Cool Whites: Plusgreen, 1/4 Plusgreen
*Decrease 1/4 stopSP35: Plusgreen, 1/4CTO, 1/8CTO
*increase 1/4 stopThe alternative, considering you can’t remove the fluorescents and replace with Kino tubes is to gel the fluorescents with Minusgreen gel from Rosco. (I happen to use Rosco but you could certainly use whatever brand you prefer).
I hope this helps.
Mark D’Agostino
http://www.synergeticproductions.com -
Hi Ray,
Thanks a bunch for helping with this. I spoke to Chris at Intuitive Circuits. They make the GeoStamp. He said we would need to use the “GeoStamp Audio” to record the data to our audio track and then playback through that AND the “GeoStamp+” to output SD with the data supered. This would be a piece of cake if we were recording SD to begin with but that’s not an acceptable compromise.Mark D’Agostino
http://www.synergeticproductions.com -
Hi Jon,
We’ve had good luck with https://www.pond5.com . Some of their clips are as cheap as $20. John is correct that just because you bought the clip, if a face is recognizable you really can’t use it without permission. The folks at Pond5 may be able to contact the owner of the footage to help you acquire rights. You can also check the search box on the site to show only those clips that already have the rights signed off.Mark D’Agostino
http://www.synergeticproductions.com -
Thanks everyone for the suggestions. I really appreciate it. We were thinking of the “shoot the gps screen with another camera” method Ernie but were hoping for something more elegant. That however may be the best choice if the client wants it supered on the video. We still haven’t gotten back how they want this, (believe I know that’s a key bit of information). If they are okay with a log for reference then Noah’s idea could be perfect. I really like Ray’s suggestion if the client is okay with and capable of playing it back the way you described. It’s great that the 2700 outputs the gps meta Ethan but unfortunately the HDX900 takes it in but doesn’t have a way to get it out. When we first tried this about a year ago Panasonic said they were aware of this issue but didn’t have a solution at that time. For that projectI ended up speaking gps coordinates into a mic at 1 minute intervals. The client then reviewed that footage, ( 9hrs of flight time), and using my audio as reference gave us chapter markers based on time code. As you can see we are in a bit of a bind till the client tells us exactly how they need it.I’ll let you know how the story ends.
Thanks again!Mark D’Agostino
http://www.synergeticproductions.com -
In my 30 years in this biz lighting has been and always will be the one constant that is king. I totally agree that in the end that makes the real difference between a good key and a great key. I wouldn’t minimize experimenting and I do agree it should be done in downtime as it was in my case. We knew ProRes as opposed to using the DVCProdHD files from a Firestore would make for a better key but it was nice to see that before trying it with a client on set. While any good green will work if it’s lit correctly, we did learn that by goosing it with green gels made for a better key. We’ll stick with the Rosco paint. I was never looking for a cheaper alternative. I was just curious if there was a better. John, Tim and Mark,thanks for the input! You guys are why these forums are so great.
Mark D’Agostino
http://www.synergeticproductions.com -
Hi John,
We have researched the KiPro and it does look interesting. That would probably be a big step to a solution. Thanks for your feedback!Mark D’Agostino
http://www.synergeticproductions.com -
Thanks John,
I actually had read that post and plan to test that paint. I’m less concerned with the cost of the paint. I’m just trying to figure out which is the best.
We just finished a test with our HDX900 adding Rosco gel #389, Chroma Green, to our tungsten lights aimed at a Wescott green flex background. It improved the composite enough to convince me to add the gel from now on. It actually reduced the red channel which made for a better separation. I chose Chroma Green because it had a tighter green spike than the others including the LEE #738 in that forum you mentioned. Obviously, using this gel only works when I don’t have to see the floor that the talent is on.
Since DVCProHD is compressed, (we record to a Firestore), we do have issues with compositing. We tried running directly from the HDX900 into FCP through our Blackmagic box using ProRes and the difference in the composite was dramatic. So I guess something like the AJA IO and a laptop would do the same for location stuff.
Mark D’Agostino
http://www.synergeticproductions.com -
Shortly after we got our HDX900 in 2007 we made a 4-5pin cable adapter to do the same thing so that we could use our old camera mic and have it in mono on either channel. It’s worked great for us.
Mark D’Agostino
http://www.synergeticproductions.com