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studio460

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studio460 last won the day on April 1 2014

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  1. Imagenomic's Portraiture is pretty much the only plug-in I use. It's fast, customizable, and works great.
  2. I was thinking of building a studio addition at one time. Instead of the traditional "north light," I was thinking of facing the windows toward the south instead. I would get more light, and I could scrim if necessary. I have a casual shot using this light through some shears, and really liked its effect. Also, since I'm right-handed, I tend to key from the right, which is how a south-facing bank of windows would be oriented.
  3. I use my AF-S Nikkor 50mm f/1.4G (on a full-frame body) almost exclusively for full-length shots. For head-and-shoulders shots, I generally use my Sigma 150mm f/2.8 macro, since its super-sharp, and provides a nice amount of compression. I never use my 50mm for anything closer than a full-length shot due to its noticeable foreshortening. As Rick mentions, the Nikkor 50mm f/1.2 Ais when shot wide-open does impart an inherent bit of spherical aberration which adds a nice bit of softness which is sometimes desired. As Bob mentions, the AF DC-Nikkor 105mm f/2.0D and 135mm f/2.0D lenses can dial-in additional spherical aberration for enhanced highlight-halation; though I generally shoot my DC-Nikkors at their default settings (i.e., where the DC-ring aperture equals the shooting aperture). This renders a sharp image with some subtle halation, which I like for shooting women. For medium-close shots, I'll use anything from my AF-S Nikkor 85mm f/1.4G, the DC-Nikkors, or my Sigma 150mm. For full-length standing shots, sometimes I'll use my Sigma 35mm f/1.4 to lengthen the subject's legs (using a lens-height just below the subject's hips). So, in general, I'll use a 35mm-50mm for full-length shots, and 85-150mm for head-and-shoulders shots.
  4. <p>Tim said:</p> <blockquote> <p><em>"There's a lot more lingo you've left out of your list I haven't seen used by still photographers. Over at a cinematography forum they have their names for lights 1K, 4K, 10K (in watts), blondes, CTO, CTB filters (had to read up on that), Joker, Tweenies, etc. I've decided I'm not going to be a cinematographer but I'm still wondering whether I need to know all that."</em></p> </blockquote> <p>That's all terminology from the production-side. As a post-production operator, the knowledge requirement of specific on-set lighting instruments isn't really necessary (remember, the industry is highly specialized, and department-specific knowledge, often highly segregated). Walk onto any Hollywood movie set and ask a grip what ISO they're shooting at--he won't know.</p> <p>I think it's helpful for the post side to know that the DP lit something with an HMI or Xenon, if only for color-temperature reference, but not necessarily to the detail whether it was a Joker, 6K PAR, or an 18K HMI--just as the rigging electrician doesn't need to know if the light uses an electronic or magnetic ballast (he only knows that the magnetic ballast weighs a ton!).</p> <p>So, to answer your question, if working in post, you don't need to know those terms. However, again, working in a lighting rental house, you would pretty much learn the entire Matthews grip and Arri, K5600, Mole-Richardson, and KinoFlo lighting catalogs within a couple of weeks.</p>
  5. <p>Perhaps your PostScript analogy is an apt one, as I've dealt with four-color, pre-press work in the past, but I don't think it's as a pervasive an issue in modern post-production environments. In contrast to production, there are less time-constraints in troubleshooting a particular issue or workflow problem in post, and often a cadre of engineers (both from the facility-side, and from the vendor-side) are available to help resolve it. I think the "qualifications" for becoming a DIT can vary wildly: A month working at a rental house tweaking F55s, a year working solely on Alexas under a big-time Hollywood DP, or as a jack-of-all-trades, coming from a post environment.</p>
  6. <p>Rob, you're in luck! Contact the US Profoto distributor and get the number for their parts department (it's a different phone number than their main number). Profoto replacement diffusers and internal baffles are surprisingly low-priced. I bought an extra baffle and external diffuser for my Profoto 3' octa, and I think the internal baffle was only about $10! The external diffuser cost just a bit more. They're handy to have anyway for when you want to place your modifiers extremely close to your subjects (as I often do).</p> <p>I bought mine to slow down a 400Ws Dynalite head with only a four-stop range (I should've actually bought two of each!). Anyhow, it's a nice clean solution that "stays put" and doesn't "rattle" (as C-47'd sheets of gel does sometimes). There's plenty of Velcro left on the lip of the softbox to attach more than one diffuser, and attaching more than one internal baffle is easy to do as well. As James mentions, a few layers of ND gel wrapped around the flashtube also works (but is more finicky to attach/secure).</p>
  7. <p>Tim said:</p> <blockquote> <p><em>"Well scratch off Digital Imaging Technician as a profession for the motion picture business."</em></p> </blockquote> <p>Tim, I've created the exact opposite effect than I intended! It's not as bad as all that. I threw in the math and that guy's DCP blog mainly for humor. Remember, the industry is highly specialized, and no single craftsperson is 100% knowledgable in every aspect of the image, from acquisition through distribution.</p> <p>Since you understand the basics of working with curves, etc. (in either Aperture, Lightroom or Capture One) in a still-image post-processing context, then I think you're definitely still ahead of the game. Unions aren't a big deal: If you get a job in a union shop, you'll simply be required to pay dues and join within a certain number of days (plus, since the introduction of the modern NLE, many post-production positions have now become non-union).</p> <p>Here's what many of us are already familiar as still photographers:</p> <p>• Basic sensitometry terminology and concepts.<br /> • Gamma, knee-point, slope, black-level, IRE scale, etc.<br /> • Sensor dynamic range.<br /> • Color theory.</p> <p>By the way, I've found a particularly interesting 282-page thread on another forum called, "Just got a new camera--Sony F35." I think you'd enjoy it.</p>
  8. <p>Adorama is selling a demo unit on eBay right now for $2400 or "make offer." I've totally low-balled Adorama make-offer eBay listings in the past and won. Give it a shot!</p>
  9. <p>For location sound, the Sennheiser EW-series wireless transmitter/receivers are very popular, and despite their "entry-level" pricing, are widely used in broadcast and corporate work. They cost significantly less than higher-end Lectrosonic, Sony, etc., counterparts and work just fine: http://www.bhphotovideo.com/c/product/618739-REG/Sennheiser_EW_112P_G3_A_EW112_p_G3_Camera_Mount.html. The audio accessories company, BEC, makes a wide array of receiver-specific wireless boxes and mounts to attach these units to your camera.</p>
  10. <p>If you must use a DSLR to shoot video, a huge assortment of DSLR rigs can be found at B+H under Professional Video -> Tripods, Supports & Rigs -> Supports & Rigs -> DSLR Video Supports & Rigs. There are tons of low-budget, all-in-one rigs listed, but among the full-rail support style rigs (i.e., "LWS" for "lightweight support," 15mm rail systems), I've found Lanparte products to be excellent in quality, plus their entire line is priced much lower than competing, fancy European brands (e.g., Zacuto, Chrosziel, Movcam, etc.).</p> <p>I just bought a large-sensor Super35 digital cine camera, a Sony NEX-FS100, which I'm super happy with. It's more of a cine camera, and right out of the box, is much less convenient for run-and-gun video work (though with the proper rig, it can be made into an excellent ENG-style package). But for your application, Sony developed what many view as an ideal wedding video camera, the Sony NEX-EA50M: http://www.bhphotovideo.com/c/product/1076767-REG/sony_nex_ea50m_nxcam_camcorder.html</p> <p>For whatever reason, it's not a very well-known product, but it's got an impressive feature set for the price, and there aren't really any competing products in its price range which offers all this cameras does. The beauty of the EA50M, and the primary reason I'm recommending it, is that its form-factor is in the traditional shoulder-mount ENG style. You won't need to spend money buying expensive rigs--it's totally shootable right out of the box.</p> <p>It has a 16.7MP sensor, so it's about 1.5 stops less sensitive than my camera (which has only a 3.43MP imager). If low-light shooting is the priority, the Sony FS100 is one of the most light-sensitive digital cine cameras on the planet, besting even an Arri Alexa. That aside, I would highly recommend you consider the Sony EA50M. It's gone through one revision (the 'M'), and has enough professional features to make interfacing with other pro audio and video gear a breeze, and the price, for what you get, sure is right at only $2,599.</p> <p> </p>
  11. <p>Tim said:</p> <blockquote> <p><em>I wonder what video resolution ratio is sent to movie theater projectors by way of hard drives . . .</em></p> </blockquote> <p>Remember when you wondered why anyone would need algebra in real life?<br> <img src="http://studio460.com/images/DCP-1.png" alt="" /><br> Seriously, here's a fun reference page regarding 3D LUTs for use with Convergent Design's <a href="http://www.bhphotovideo.com/c/product/1106852-REG/convergent_design_cd_odyssey7q_odyssey7q_raw_oled_monitor.html">Odyssey 7Q+</a> external digital video recorder: <a href="https://www.convergent-design.com/3d-luts.html">Odyssey 7Q+ LUTs</a>. Convergent Design makes one of the most popular 12-bit 4:4:4 external SSD recorders on the market. Lots of technology for only $1,795! Here's a "best practices" blog regarding <a href="http://www.knuterikevensen.com/?p=1117">DCP workflows</a> (most of which, I have no idea what they're talking about!).</p>
  12. <p>Tim said:</p> <blockquote> <p><em>Ralph, now you've went over my head with the Sony 4:2:2 10-bit Raw bitstream thingy. I looked up the wiki on sampling numbers and just couldn't rap my head around its significance . . .</em></p> </blockquote> <p>Note that I have no formal engineering training, so my answer may contain some errors in specific terminology. In the early 1990s, I was involved (in a marketing context) in the development of motion-video compression algorithms, and produced a demo shown at SMPTE and NAB, basically displaying one of the first ITU601-quality, MPEG-2 files playing back from a manufactured CD (essentially, the precursor to the modern DVD). Engineers at the time referred to such compressed video files as "bitstreams."</p> <p>Modern digital formats encode video into three components: Y, Cr, Cb, where 'Y' stands for luminance, and Cr, Cb, in general terms, refer to the red and blue colorspaces (though, technically they mean, "color-difference, red," and "color-difference, blue"). When sampling video, the two parameters which indicate sampling "quality" are: Bit-depth and quantization ratio. Typical bit-depths range from 8-bit to 14-bit in current systems. Common quantization ratios include: 4:1:1 (e.g., DV, DVCAM), 4:2:0 (e.g., DVDs, Blu-Ray, AVCHD), 4:2:2 (e.g., virtually all current digital broadcast acquisition formats), and 4:4:4 (e.g., Sony SR, Cinedeck, AJA, Black Magic, Convergence, motion-picture film scanners, post-production color-correction systems). The reason the first sampling ratio is always '4' is that luminance resolution is more easily perceived than color-resolution, so the 'Y" channel is always sampled at the maximum ratio possible, and the color-difference channels sampled at half (e.g., 4:2:2), or less (e.g., 4:1:1). Here's a pretty good article which explains the topic in easy-to-read terms with good supporting graphics: http://www.red.com/learn/red-101/video-chroma-subsampling</p>
  13. <p>So, back to grading: Obviously, I've been hugely influenced creatively by these two spots, and I'm now trying to think of how to integrate some of those stylistic approaches into my reel. My S35-format cine camera can be easily tuned to shoot "futuristic-blue" interiors (now, all I need are the "futuristic interiors"), and the flesh tones already look pretty good straight out of the camera. But without the benefits of working with a 10-bit 4:2:2 RAW bitstream, I'll have to grade on-the-spot, and hopefully, get it pretty close right on-set.</p> <p>I still need to set-up my new iMac and buy and install Final Cut Pro X onto it, then start that whole learning curve (I'll begin with FCP's built-in color-grading toolset, and consider attempting to learn DaVinci Resolve Studio, perhaps someday in the future). But, again, what little color-correction I did in Aperture to my test footage is encouraging. I've been reading the video forums again, and a Panasonic consultant I know, who's opinion I trust, claims that the Sony long-GOP AVCHD (h.264-based) CODEC used in my camera is actually fairly robust. As I mentioned before, several shooters claimed to see little benefit by outputting to an external recorder to gain 4:2:2 sampling.</p> <p>Time-lapse: The neat thing about time-lapse is that any inexpensive DSLR is totally capable of making gorgeous time-lapse video sequences. Last year, I rigged a Nikon D7000 and a D3200 for a nine-week time-lapse shoot for a TV show. I had to use a shopping cart full of grip gear to secure the cameras, and thankfully, the end product never wavered. The show's editors put it together in their Avids (knocking it down to 1080i60 for broadcast), and it came out looking pretty amazing. As for the extreme macro shots, I own a pile of macro lenses, so that shouldn't be a problem visualizing those kinds of shots. Over-cranking: My camera is capable of 60FPS at full 1080p resolution, so that's one more creative time-shifting visual trick to be able to throw in.</p>
  14. <p>Getting back to a bit of cinematography talk, two currently running national commercials in particular come to mind which really impress me: 1. The currently running SAP/HANA :30 spot: "The Answer is Simple:" http://www.ispot.tv/ad/7QdS/sap-hana-the-answer-is-simple, and, 2. The State of New York :30 spot: "State of Opportunity" [no online video available]. <br /> <br /> First, (kind of not related to cinematography at all), the SAP/HANA spot has a gorgeous score with a hugely majestic-sounding musical cue, timed at the tagline. And, though the spot is mostly made up of time-lapse/under-cranked photography, it also includes some live-action (I'm still trying to figure out how they did the traversing, time-lapse tracking shot looking into downtown L.A. from above the 110 freeway). In addition to the stunning time-lapse photography, the contrasting use of extreme macro shots and super-giant wide shots in ultra-big technological/industrial environments makes for a striking visual ensemble.</p> <p>The State of New York publicity commercial (edited in Final Cut Pro, by the way), has a similar feel to the SAP/HANA spot: Long, perfectly parallel linear tracking shots, butted-up against perfectly perpendicular aerial photography (similar to the manufacturing facility overhead shots in the SAP/HANA spot). Again, contrasting macro shots and expansive aerials make for a nice visual mix.<br /> <br /> The State of New York spot even has a "portraits" sequence (similar to the one which you linked at the start of the thread) in the latter half of the commercial. This kind of thing has become quite popular in recent years, seen in a variety of contemporary ad campaigns. The "portraits" sequence isn't overly graded either, with flesh tones appearing fairly neutral.<br /> <br /> Also similar in style to the above commercials is the astellas pharmaceuticals corporate spot (again, no online version found). Notice that although all the "tech" shots (e.g., clean-rooms, labs, etc.) are lit in "futuristic cool-blue," they do manage a neutral color balance in the last shot of the group of people in the astellas commercial. This supports my philosophy that you need some perfect-looking skin tones to balance everything out. Plus, the fact that correctly rendered flesh tones are just pretty to look at!</p>
  15. <p>Tim, you're now getting into an area far beyond my expertise! Check out some of the Arri white papers, reference, and marketing materials regarding their "ARRI LUT Generator," "ARRI Look Creator/Color Tool," and "ARRI Meta Extract" for more information on these topics. Study these, and you'll know 99% of what Hollywood is doing since virtually every major film is now being shot on Alexas.</p>
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