Rick Wise
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[taek817] “What is concept of D.I.T?”
The Digital Imaging Technician is an on-set video engineer who works closely with the DP, and under his or her direct supervision, to: make sure the recorded signal is properly recorded; to digitally adjust color, contrast, and saturation of the recorded image; to make sure that each scene contains the “look” the DP desires and matches previous similar scenes or shots; and also checks carefully during every take to make sure focus is correct and tells the DP when it is not. In addition to quality control, he or she also trouble shoots any snafus that occur to any of the video equipment.
Most of the full-up HD shoots, whether feature or commercial, employ a DIT. The alternative is to “fix it in post.” If you are shooting with the Red, you do not really need one since you record raw signals. However, it would be to your advantage to have a fully-trained and very smart video engineer with you to handle equipment breakdowns, as well as to make sure everything is recorded correctly.
IATSE local 60 now recognizes the DIT as a member of the DP’s crew.
Rick Wise
director of photography
and custom lighting design
Oakland, CA
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
The Lowel DP kits are tungsten kits. You need, I think from your description, daylight lighting. One option: the Lowel Caselight with daylight bulbs: https://www.bhphotovideo.com/bnh/controller/home?O=sort&A=search&Q=&sortDrop=Price%3A+High+to+Low&bl=&atl=&pn=1&st=search&mnp=0.0&mxp=0.0&sv=Lowel+caselight&bhs=t&shs=Lowel+caselight&ac=&fi=all&pn=1&ci=0&cmpsrch=&cltp=&clsgr=. These come in 4-bulb and 2-bulb models, and fold into a single, portable case. Another is the Kino Flo Diva Lights which are a bit more expensive: https://www.bhphotovideo.com/bnh/controller/home?O=sort&A=search&Q=&sortDrop=Price%3A+High+to+Low&bl=&atl=&pn=1&st=search&mnp=0.0&mxp=0.0&sv=kino+flo+diva&bhs=t&shs=kino+flo+diva&ac=&fi=all&pn=1&ci=0&cmpsrch=&cltp=&clsgr=
Note that you can use the same daylight units to light your windowless studio.
Another alternative is to go with tungsten units and add 1/2 CTB to each. Remember when you see out the window you want the outside to be around 2 stops hotter than the inside.
Finally, for LED options, do a GoogleSearch. Two quick choices: BHPhotovideo.com, search for “LED”, and CoolLights. (Their server is down right now.)
Rick Wise
director of photography
and custom lighting design
Oakland, CA
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
Thanks for the clarifying diagram. The HVX2000 will tolerate any color shift. As for broadcast safe colors, if you orange is too intense, your NLE should have a filter to control that. I doubt you are close to that problem.
So it looks like you will have very warm edges from the CSTs. I see no problem at all. These units are tungsten, and adding a layer of CTO will just make for a very warm splash. The only problem I can see is, are these units strong enough?
Also, is your softlight daylight or tungsten? If it’s tungsten, you might consider balancing to tungsten, and let the 3 HMIs provide a very blue back and edge rim, the CSTs a very warm side/front edge, and the softlight a “normal” light. In such a case, you might use 2 HMI back lights from rear left and rear right, take 2 stronger tungsten units with CTO mid back left and right, and possibly one or 2 front fills with “normal” tungsten soft light(s).
Many different ways to go.
Rick Wise
director of photography
and custom lighting design
Oakland, CA
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
Send me your email address. I’m at: rickwise@comcast.net.
Rick Wise
director of photography
and custom lighting design
Oakland, CA
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
Send me your email address. I’m at: rickwise@comcast.net.
Rick Wise
director of photography
and custom lighting design
Oakland, CA
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
Sarah, I have the demo working. But nothing comes close to what I can do with my somewhat lengthy method to get a clean line drawing that includes some of the architectural details. Wish it did! If you like, I can email you the original photo, and my “line drawing” version.
Thanks for the suggestion. The lens corrector filter looks like it might be very useful to correct wide-angle shots that bow out in the middle.
Rick Wise
director of photography
and custom lighting design
Oakland, CA
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
Got it, Sarah. Thanks!
Rick Wise
director of photography
and custom lighting design
Oakland, CA
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
Thanks, Sarah, maybe I used the one for CS3. I’ll try again.
Rick Wise
director of photography
and custom lighting design
Oakland, CA
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
This is one of the many reasons I don’t do wedding videos except for free as a favor to a family member. The only solution I can see would be to get copies of still photos of the “missing’ people taken by the bride’s photographer; scan them into your computer, add some moves and dissolves, and voila!
Rick Wise
director of photography
and custom lighting design
Oakland, CA
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
A light on the camera will: add weight, and produce very flat lighting unless you are using it just for a touch of fill. There are some LED camera-mounted lights which are probably the best bet at present. Beware of battery drain.
Rick Wise
director of photography
and custom lighting design
Oakland, CA
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com