[Zvi Twersky]

I don’t want to record. I want to glance at my monitor, see the live footage and move lights around as needed. Like looking into the viewfinder of a video camera. You see what your going to shoot before you shoot it and when you’re framed right and the lighting and color balance is ok, you press record.

About your second reply, I can’t do that because the keyers I have don’t support MP4.

Someone referred NUKE to me. Anyone had experience with it?

[Zvi Twersky]

Thanks.

It’s true we’re scrambling to reduce costs. The reason I wanted live is not for a final product but to get an idea of the quality of the lights. I want to get a general picture of my key while adjusting lights while not having to shoot, transfer to computer, check, re-adjust lights, transfer again, check, etc…

The shooting and transferring to computer takes up precious time that I think a good keying and composting software can spare me. Also, a program like that, although might not be cheap, will definitely be cheaper then hardware and mixers.

The Adobe idea might be ok. What Adobe product is most particular for key checking? Would it be AE with some plugin like Key Correct Pro, or just the plain keyer in Premiere or do you know of some other Adobe product that would better fit what I need?

Thanks.

[Zvi Twersky]

Thanks for the reply.

You mentioned, “You’ll never see one of those on a Glidecam…” Actually, I saw on their site many models and there was one (I think X-22) that can hold up to 25lb. I also put the model x-10 into youtube search and saw people operating the Glidecam and it looked pretty cool and comfy. I’m not denying your experience but because of the price difference, I’m asking can it be that they have come some way with their newer models? How can I compare to other companies? What specifications do I look for in a stabilizer to know if it’s a high or low end piece of equipment?

You also mentioned schooling. I am a video editor and not the one who will be operating it but as an editor, I am self trained via books and online courses. Can a stabilizer operator also just “get a hang of it” by practicing or does he have to go through some more “serious” training.

Thank you very much.

[Zvi Twersky]

Yes, you are right about the animation. I just wanted to give a general direction about the tilt of the lights. Of course the lighting in the animation is not even at all. Thanks for the observation.

[Zvi Twersky]

Thanks to you all.

To Mark Suszko:

I did think of your idea but the lights on the top are shaped like half circles and will have panels that can further adjust the light beam (closing them will give a harder hot spot and opening them will widen the beam) so hopefully, this will allow me to make an even spread of light on the wall and not get the gradient pattern.

Of course we will have extra lights on the side so we will play around until we get it right.

I won’t forget you guys. Will check in for updates. Thanks again!

[Zvi Twersky]

Thanks for your reply. It’s just what I thought. All that light would end up giving the subject a dull lighting without dimension.

I think most of our shots will be full body shots. My boss is afraid of shadows if there is no light above. I have seen in some places that not only does the key and fill light eliminate some shadows, but many times in full body shots you WANT some natural shadows to be in the shot because it makes a good natural composite opposed to having having to create digital shadows.

I also think that in the worst case, we can always shine 1 extra light from a top side down onto the subject to help eliminate shadows.

Thanks again.

[Zvi Twersky]

We didn’t go to stores but manufactures. The place that are sending people is a huge complex bigger then a home depot with a ware house that has every type of light system you can imagine. They showed us around for about 30 minutes and I showed them pictures of the room and they were very professional. The visit and advice is with no strings attached. They pretty much told me the same things you guys wrote here so it seemed like they knew what they were saying.

They also provide lighting systems for all the main TV stations here.

[Zvi Twersky]

I used your replies and went shopping yesterday with my boss yesterday. It seems he is going to go with Kino. On Tuesday one of the places are sending a light technician, free of charge, to advise us on all the lighting needs at the place. I will keep you posted.

Once again, thanks to you all.

[Zvi Twersky]

Height of walls (from raised stage to ceiling) are about 2.15 meters\7 feet

Width of left and right wall are about 3 meters\9.8 feet

Width of back wall is about 4 meters\13 feet

Does your reply apply to these measurements?

Thanks

[Zvi Twersky]

Thank you all for the replies.
Yes, there is some room for an angle shoot. Not much though. We didn’t have room to extend the floor because behind it will be the editing station and the room is not that big. It’s our first build so my boss didn’t want to spend TOO much. If we are successful, he will relocate to a bigger place.

Since we were short on space, I will take all the advice you guys gave me into consideration and start working with what I have. I did extend the black some on the ceiling.

Tomorrow or Sunday next week we will be going out of town to purchase lighting. I’ll check in once in a while and tell you how it’s going. Maybe I’ll even upload some work we do and share it with you.

Thank you all again. Please don’t stop the advice though. Keep it coming. I’m always open to new ideas and suggestions.