Mark D'agostino
Forum Replies Created
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Had one client who was fine when he was talking but when he stopped his breathing was wheezy and loud. I had to move him off set and put another body, me, in place to get RT…the art of ambiance.
Mark D’Agostino
http://www.synergeticproductions.com -
I agree TY. I use this mostly when on location and ambient sound is an issue. I should have been more specific.
Mark D’Agostino
http://www.synergeticproductions.com -
I totally agree and have recorded room tone consistently for years not just to help fix problems but if we have to bring the talent in to re record or update part of the audio the room tone mixed back in helps keep things seamless. It’s also a must to fill dead space when you decide to open a gap for pacing in the audio.
Mark D’Agostino
http://www.synergeticproductions.com -
We actually did one that resulted in a lot more flame smoke and spark but the client chose the more subtle approach. It’s so easy and fun to say ahh…just one more teaspoon, how bad could that be? That’s why I’m usually kept away from sharp objects here:)
Mark D’Agostino
http://www.synergeticproductions.com -
Here’s the link for the video of thew toaster. It’s very short but it’s exactly what we needed. Thanks again for the help. https://www.youtube.com/watch?v=CGOPElEmwOk
Mark D’Agostino
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Your boss’s plan looks like too many small sources from above that can cause all kinds of shadow issues and make lighting your talent properly just about impossible. I’ve done a lot of green screen over the past 20 years. We have about a 2,000 sq ft shooting area in our studio with curved and coved hard cyc on two walls. We’ve often shot wide shots from up high with the talent walking as much as 20 feet across. Our ceiling is only 14′ so I cannot place effective top soft light. Because our largest available source is a 4K soft light there are dead areas on the floor so we do hit those with soft lights on stands where we can,(where talent doesn’t cross),and let the software help clean the rest. Others with larger softer sources may not have this problem. I’d suggest that you first get your walls lit evenly, then light your talent so that his/her key is 1/2 to 1 stop over what the wall is. If you do see floor and there are dark areas use lights on floor stands, or from a grid to help even those out as along as talent doesn’t walk into that space.
I do like the look of a forward thrown shadow and have used a 2k as a 3/4 backlight to throw that shadow. If you are wide enough see the the floor around and in front of the talent’s feet avoid any direct back light as this will cause glare on the floor and hurt your composite.
Mark D’Agostino
http://www.synergeticproductions.com -
Thanks Richard. I hadn’t thought about using the green spike to my advantage for the screen. I will check out the HF elctronic ballast fixtures though since I already own a bunch of Kino tubes.
Mark D’Agostino
http://www.synergeticproductions.com -
Thanks Mark.. I was also planning to stuff the toaster with treated paper an light that to get flame and black smoke and augment that with fx. There is no talent in the shot, just a couple seconds of the toaster doing its thing. I agree that the strobe will add a nice bit of interactive light.
Mark D’Agostino
http://www.synergeticproductions.com -
Thanks for the advice all. We’ll be going the post effects route with the kind help from the advice you’ve posted. Doing it for real while possible, given my lack of experience with this makes it not the wisest choice, (but it would be pretty cool).
Mark D’Agostino
http://www.synergeticproductions.com -
Thanks for the quick response John,
Yeah, that’s pretty much what I thought but not having tried it it’s nice to hear from someone who has.Mark D’Agostino
http://www.synergeticproductions.com