Rick Wise
1
COW Coin
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OK, OK, and thanks! By the way, a trick I’m sure Todd knows but didn’t have time to use: if the pavement is too, too hot, water it down. You’ll have to keep at it as on a sunny day that wetness will evaporate quickly. Nothing like a good PA…. But here the hot pavement works beautifully. Some video cameras could not handle that extreme well, but his C300 does.
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com -
Advice excellent “…almost always” …. hmmmmmm
Of course, your “good-enough” shoot is very good, as it is… always. Myself, I would have scrimmed down the hand with the hot dog, though… Love the hot pavement behind them.
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com -
You will need a person to hold each reflector, or else a way to grip and lock it in place. Again, wind is you enemy. The 5-in-one probably has a white surface which may work best without any separate diffusion.
I believe the 1/4 silk cuts the light intensity by about 1/2 stop, but I’m not sure. A thicker diffusion, such as 1/2 grid cloth, would cut it more and really spread out direct sun.
Think lots of sand bags for the 12 x 12 stands. Again, won’t work well if at all if it’s windy.
If you can afford it, and if there’s power, having at least one 1800 HMI will give you far more control and options. Think a 6×6 or 8×8 silk in front of that unit.
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com -
That Kino will do you next to nothing in all that bright light. Better to rent a shiny board plus either some foamcore to bounce the light from the shiny board, or another 8×8 silk to diffuse the board. The reflector can work if it’s not windy. If it is, it’ll move around and likely mess up the shots. A better but more costly solution is to rent an 1800 HMI that you can plug into a wall socket (if there is one….) plus the 8×8 silk.
A second shiny board (4′ x 4′ reflector) could serve to give a bit of 3/4 back edge, though the original version is all soft light.
Best of all, hire an experienced gaffer/key-grip and consult with him about gear.
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com -
This item is a copy of a couple of other similar ones that have been around for quite a while. They include:
Atlas Camera Support (https://www.atlascamerasupport.com/)and the original EasyRig (https://www.bhphotovideo.com/c/search?Ns=p_PRICE_2|0&ci=3927&setNs=p_PRICE_2|0&N=4071351454+4291465588&srtclk=sort)The Atlas line is the least expensive of the three.
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com -
I don’t know how this camera will handle pans and tilts. The ND filters will help you to force the iris more open. “Film like” remains to be seen. It’s not out yet. I think once it is, if your order one from B&H you can try it out for a few days and return it if you don’t like what you get. Of course, the camera has to be in pristine shape and repackaged the way it came to you.
Alternatively, rent one, but rentals for the Sony won’t be around for a while yet.
Nothing beats hands-on and experimenting.
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com -
Jonathan, you are right. I must have mixed his post up with another. He makes no mention anywhere about shooting stills.
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com -
The specs on that Sony X70 are stunning! I generally much prefer Panasonic and Canon, but in that price range ($2,300) it looks like for the moment Sony has the leading, bleeding edge. That said, I don’t see any mention of image stabilization, which is surprising. Maybe too new for full details.
For Sumesh, probably not a good choice since he wants to also shoot stills.
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com -
I wonder if that more “film” look in the Mark lll is due to its large chip. The consequence of that size is that you use much longer lenses for the same field of view. At a given distance and given f/stop, the longer the lens the more shallow the depth of field. While there are filmmakers (including Michael Mann) who love deep depth of field, most prefer to isolate the main subjects with shallow depth of field, throwing background and foreground out of focus.
It may also be that the A7 and GH4 do have more crisp details, which produces a more “video” look. Probably one can turn down detail to get a softer contour, but the lens issue remains.
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com -
[Norman Black] “I’ll submit a feature request for something like this. It should be really trivial to implement”
Great! Thanks, Norman.
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com