Rick Wise
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COW Coin
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Or the XF100’s little sister, the Canon XA10 (https://www.bhphotovideo.com/c/product/749467-REG/Canon_4922B002_XA10_HD_Professional_Camcorder.html)for $1,700. I haven’t used it myself…. Canon claims the “auto” everything works well. To be determined. (In my experience, auto anything is asking for trouble. But for this purpose, maybe OK.)
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
The Zi8 is no longer available, but the Zi10 and Zi12 are.
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
For professinal gear you might want to use BHPhotovideo.com. But for light diffusion you could use shower-curtain liner you can buy at Home Depot or the like. Otherwise, a roll of opal. Others will no doubt have similar suggestions.
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
Possibly the diffusion on the front of your softboxes are too thin and possibly too small. If you have a couple of c-stands, try flying some larger, light diffusion out in front of the soft boxes. You will likely find this modification makes you eyes much more comfortable.
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
I believe those V-lights need a tota frame to hold gels and diffusion. You cannot stick the gels directly on the light. There are a huge variety of diffusion “gels” out there. Go to the Lee and Rosco web sites and poke around. The thicker the diffusion, the softer the light. But the thicker the diffusion, the more it cuts down light intensity.
Great that your high school has such a studio!
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
Eric makes a terrific case for working up through the electric department.
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
I have never heard of a key grip becoming a DP, but I have heard and know gaffers who do so. I suspect that what is bothering you right now is a natural impatience to get on to the next step. There is no sure way to do that other than try, try, try. If your current strength lies in camera, keep at it, but look around for non-union gigs helping out in the electrical department. It’s a long haul to work you way into union work in the category you love. My hat is off to you.
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
A bit of blue on grey/white hair often works very well. Equally, warm gel for red and brown hair.
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
True, Mark, though I’ve found the 1/4 CTO works pretty well to control the green. But you’re right, magenta is better.
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
All great posts. I was originally contacted directly about this problem and urged Shaun to post on Cow. I’m sure he’s glad he did!
I really have litttle to add other than to agree totally with the use of shop fluorescents for the green screen, and paint them black to make them look professional. Oh, also, get the talent as far away from the screen as possible, which in your case is not very far. Some green light will probably bounce back and give green edges to your talent and props. Since you cannot use distance to your advantage, try light, diffused back lights with a slight warming gel such as 1/4 CTO to counter any green contamination. The intensity should be just enough to neutralize the green spill and not so hot as to make a hot edge, which will not key correctly.
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com