Richard Herd
Forum Replies Created
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[John Rofrano] “how you physically worked with audio in the studio. You have a 16 track recorder and you record everything on it’s own track. You have a 16 track audio mixer and it has both tracks and summing busses. “
Well not exactly because in real life, we also have monitor mix, sends, fx loops, and a drummer who keeps yelling at us that she doesn’t want to hear the guitar, only only the bass and vox — and d a m n it, it should be a dry mix. ?
(Video tracks matter because of compositing order — but that can be handled via nodes.)
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[Jeremy Garchow] “screw up compositing order”
We can now begin to consider nodes and what we are looking at on screen and how we choose to organize it is just the GUI.
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Haha!
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“Make acting better” sweet! Now can we get a “make client happy” toggle too or maybe “auto approval.” LOL. Fantastic new stuff!!
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Haha. Pretty silly.
If you’re gonna pull keys, definitely do not underlight or overlight — do it just riiiiight.
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There are few details to wade through.
We calculate motion shutter speed as Frame Rate * Shutter Angle.
The shutter angle is what we do not have, well not really, on digital cameras.
Watch this video: https://www.youtube.com/watch?v=dGYbcvcyBkw
The “choppy look” comes from the shutter angle. So for slowmo choppiness you want 60fps * (90/360 shutter angle) = 1/240. This technique is used quite a bit especially when you want to capture pieces of dust particle from an explosion, like in Saving Private Ryan and The Hurt Locker — among dozens and dozens of other films.
Additionally, its worth mentioning, that you can add the motion blur in post, but you cannot take it away.
And also the feeling this creates is of a heightened reality: things are moving slowly and we are able to see each frame, each spec of dirt passing by. If your story does that, then it’s a good time to use the technique. OTOH, the opposite happens to: if the reality is confused, you may want to use an obtuse shutter angle, such as 270-degrees, or 24fps * 270/360 = 1/32 shutter speed. Together with some lens whacking, you will create a drugged-out or punch drunk experience.
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[Todd Terry] “choose f-stops for the desired depth of field, and then light (and filter and sometimes even adjust ISOs) accordingly to expose properly”
This is exactly what I try to do, although I do not much like changing ISO for the same scene because I feel it changes the image: maybe adding some contrast slightly — like moving from 320T to 800T. I think once Mr. Sweden gets the idea of contrast ratio (really latitude, I know, but I think this idea of “you only get 5 f/stops” as a ratio of light to dark is a good way to think about it), he can light for the f/stop. Might take a bit longer the first couple of times but worth figuring out.
Maybe “whole f/stops” was stated incorrectly/too quickly. The answer to why is because I’m old and set in my ways. There is no art to it 🙂
I still use a Sekonic L-398A incident meter and it marks the f/stops as 1, 1.4, 2, 2.8, 4, 5.6, 8, 11, 16. It does have the splits. LOL! Sorry it’s not fancy and pretty banal.
One quick real-world example: I recently shot an interior day, and the outdoor was fortunately very cloudy, so I measured outside at a 5.6-8 split and I figured the clouds would move here and there.
In my head I thought “okay it’s a 5.6″” because it would expose for the redwood trees just outside the window. Interior, the keylight at 2.8 — which made any burned out dapple look kind of nice.
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For me, I like to work in whole f/stops, so I would shoot it on a 4.0, so we’re looking at: 2.0, 2.8, 4.0, 5.6, 8.0. When you get into post this will roughly line up to the IRE (20, 40, 60, 80, 100).
The art of the cinematographer is to shape the light into a proper exposure. We used to call it a “dense negative.” We get the key light, the fill light, and the negative fill. Poor negative fill. He never gets much attention, but worth looking up 😉
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We are gonna talk about contrast ratio. That’s the name for the idea that every image has the darkets pixel and the brightest pixel. We measure the contrast ratio in f/stops. Our eyes for example can see 12 or so at one time. Video cameras like the one you’re using can only see 5, and it doesn’t matter which five they are, just five.
You’ll also notice that your camera will have a minimum amount of lux. That is, how much light it needs in order to render an image. Usually this is pretty dark, but not as dark as the human eye can see.
What does this all mean?
Let’s suppose, like me, you like to expose an image at 2.8. THis means your camera will actually record four other f/stops (from darkest to lightests): 1.4, 2.0, 2.8, 4.0, 5.6 .
The reason I do this is because we are converting light into data. The 1.4 ensures that I have recorded “darkness” as data and later, I can adjust the black point in post because it is data. Had I shot lower than that, the darkness is still dark of course, but it is no longer data, so you can assume that anything darker than the 1.4 is gone. Same thing on the other end. the 5.6 ensures that the white points are actually white and not clipped — but everything beyond that is gone, clipped. It cannot be recovered.
So now back to your question: You want to shoot a properly exposed image.