Rick Wise
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Shutter angle is a way to describe how closed or open is the shutter. It does not look like your camera has that possibility. As for 60i on YouTube, I’m pretty sure it will — but shoot a quick test and upload it to make sure…
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
I agree with John. On some cameras it is possible to set a wider shutter angle, which will help to add a more normal blur as you move. One other possibility is to shoot at 60i — the stutter problem is then less acute. Since you are panning empty rooms for web display of real estate, there probably is not a whole lot to gain by trying to shoot 30p so the 60i should work. Indeed for that very reason when I shot just such a project for a client, I did shoot in 60i and it worked just fine. (The worst setting for web use would be 24p. More stutter, and more artifacts from the 3/2 pull-down conversion to 30 fps.)
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
Mike, I believe you. However, it looks like Cow has pulled this thread: it is not listed in the lighting forum that I can see. It lives on in this special little space….
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
Looks a bit like a hidden advert to me… The light itself looks to be brilliant, and somewhat costly. Terrific idea, eliminating most of the green bounce-back. Looks like a rather narrow width, meaning you’d need quite a few of these for a decent-sized green screen, anything more than head and shoulders. $1,200 each…. But for corporate talking heads no wider than head-and-shoulders, possibly terrific.
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
Since the lenses you are looking at have ONLY T-stops, you can be comfortable knowing that the f/stops are almost identical and therefore there is no significant difference between them. Angelo’s post lays it all out very nicely.
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
Professional older lenses, especially older zooms, are marked in both T-stops and f/stops. We use f/stops to calculate depth of field, and T-stops to set the iris. Example: Your lens is an f/2.8, the widest it can go. Your meter tells you to expose at 2.8. Looks cool. But when you look at the lens you see that when you set the f/stop at 2.8, the T-stop is 4.5. What does that mean? The “true” stop of the lens is 4.5 when the f/stop is 2.8. So you don’t have enough light.
Example 2: the meter tells you to expose at 5.6. You set the T-stop to 5.6, and discover that the f/stop is f/4. What does that mean? That you depth of field is what you will get at this focal length and at this distance with an f/4 and T-stop of 5.6.
But on most modern lenses there is little difference between T and f/stops. So if you have a professional lens you may find both T and f/stops. They are likely to be nearly identical.
(The T-stop is the actual amount of light coming through the lens, while the f/stop is the calculated amount.)
Bottom line, stop worrying….
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
This entire thread has been removed from the main page. As to how to delete, I think there is no way for you to do that after 30 minutes or so. The poster has probably been banned by the Cow.
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
This post is a blatant advertisement and does not belong on this forum. Please remove your post immediately.
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
You’ve got the basic idea: add green to your chimera to match the green of the fluorescents. Then white balance to your chimera and see how everything looks. You may also find the background is too blue, in which case add a bit of blue to the chimera and re-white balance.
I would carry 1/4 plusgreen, and 1/4 CTB, with enough sheets to double up if 1/4 is not enough. If you want to fine-tune more, also carry 1/8 plusgreen and 1/8 CTB. In general I would also carry some 1/4 CTO to warm things up if you want to go that way.
Note that you could find the “correct” white balance and then add say 1/8 or 1/4 CTO to your key to make your subject a bit warmer than the background.
Ideally you’d have with you rolls of: 1/8, 1/4, and 1/2 of all of the above. That can get pricey…. though with care what you use once can be recycled many more times.
So many ways to play!
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
Those are the questions I am asking myself and wondering the answers to. Instead of winging it taking 4 variations of the same shot I’d like to know instinctually what is the best shot to get which would save me time.
Milton, I think you are overworking the logical side of your brain. Your gut feeling can tell you a lot about choice of camera angles, wide vs. long lenses, slider/dolly vs. static, etc. etc. It sounds like you have lots of leeway to experiment. So experiment! So what if right now it takes you more time? Shoot the variations and then decide in post. Or, just go for the gusto and pick strong, dramatic angles/focus/movements and live with the results. See how they play. That way you will slowly develop your ability to make an instinctive choice quickly. There are no shortcuts….
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com