Michael Palmer
Forum Replies Created
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Bingo
Thanks Kevin
Good Luck
Michael Palmer -
“the fact that it’s lit over or under doesn’t seem to be the primary issue…the key factor is that it’s different…over or under.”
I couldn’t agree more, if they have the room to separate the green from the subject.
However I believe it is much safer for me when i’m offering advice to the masses to keep the green screen lighting 1.0-1.5 stops lower than the key because I can’t assume their situation or skill level to see light, putting them at risk of creating a moster of green bounce that will contaminate their subject.
I also prefer HMI lights and 5600k white balance for green screen work.
Good Luck
Michael Palmer -
If you used XD Transfer to bring them in then you have re-wrapped them as Quicktime files. I’m guessing that you use Final Cut, and after editing these files in FC you can export the finished master as XD Cam sequence, File/Export/Sony XD Cam that creates original XD cam files.
I know that there are some people writing data files to Blue Ray with Toast 10 and I’m about to tAKE this next step for archiving.
Good Luck
Michael Palmer -
These 35mm adapters can give you shallow depth of field but they are NOT the same focal length compared to a 35mm film camera.
The adapter creates the film plain and the EX1 stock lens needs to zoom out 80% on that lens to fill the frame, this is where the EX1 stock lens has had issues and the focus wasn’t sharp from edge to edge.
All of the companies will tell you they fixed this issue but I would need to see it to believe it.
If you go with the EX3 you could purchase/rent a rely lens system and achive better overall results. Both Letus and Cinevate should have these available now.
https://www.cinevate.com/website/index.php
Fijinon also produces a nice 2/3 lens adapter ACM-21 adapter for use with Cineprimes.
https://www.bhphotovideo.com/c/product/576005-REG/Fujinon_ACM_21_ACM_21_2_3_Lens_Adapter.htmlIF you really want to take advantage of either EX cameras then you should also look into an External HD -SDI recorder from Convergent Design. The Nano Flash allows you to go way beyond the limits of the EX codec as you can record 220 Mbps all i-frame. IMO this will help your project more than a 35mm adapter system.
https://www.convergent-design.com/Good Luck
Michael Palmer -
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I believe the image will need to be flipped in post and it is very easy to do in Final Cut.
However depending on the adapter you get many have an extra prizim to flip the image before the sensors, but they rob you of 1/2 stop.
Good Luck
Michael Palmer -
I should have asked is this 1 camera or more?
You have may enough light with these 3 units. Try using the softbox 45 degrees to one side of camera and the lowel with a light diffusion from the oposite side of camera for back light and use the umbrella for fill if needed from between camera and softbox. Not sure what your back ground will be, but with puppets its really about proformance and not the envirnment or set, however a few fresnels would be nice for the BG. Some Arri 300/650 would do nicely.
This is basic and it works for what you have. I’m sure other pros here can give you more ideas and opinions to help. Very creative people here.
If you have a few bucks for lights then look into some small fresnels (650) AND SOME C-STANDS AND FLAGS to control these lights. And make sure your back light is up high enough to edge these puppets and it will make it easier to cut out of the camera lens.
OK someone eleses turn!!!!
Good Luck
Michael Palmer -
Do you have any thing available to you to start with? Are you renting or purchasing the lights? Do you have budget concerns?
Most of the posts here come from those how need suggestions to produce good lighting on a shoestring.
Before I toss out my 2 cents I’d like to hear a little more info.
Good Luck
Michael Palmer -
The new firmware update allows i-frame @ 100/140/160 and 220 bit rates.
Good Luck
Michael Palmer -
I worked on Pulp Fiction as an electrician/set lighting and one of the hardest scenes to light for was a continuous walk and talk (full film load) with John and Sam. Best scene in the movie.
We had only a few opportunities for window light and it was in the day time, however if my memory serves me right we used mostly tungston unit and the DP wasn’t afraid of hard light.
THis is a challenge for you and the gaffer as well as the Art Director to find a way to solve this. So many of the films today have art direction that allows for the rigging crews fixture people to install film friendly lights.
What type of film is this and what is the scene about? Will you need to stop during this scene for diolgue then continue the walk?
Hopefully you can tech scout this hallway and help choose the right one for you.
I would say bare bulbs or florescent fixtures are some options as well as a gaffer walking behind camera with a china ball to gently lift to ambient level. And of course blocking, back ground timing and good operating will hide some of the units you may have needed in the beginning of this scene.
Good Luck
Michael Palmer