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Richard_Swearinger

Member Since 15 Dec 2013
Offline Last Active Aug 11 2018 09:50 AM
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Posts I've Made

In Topic: Gels or Daylight Balanced Lights

29 July 2018 - 07:49 PM

I'm from the stills world where photographers love to light the subject with tungsten but use daylight instruments for the background and set the camera white balance to tungsten. 

The result is that the background and some of the shadows go a lonesome shade of blue while your subject, lit with the Arris, will be is rendered naturally. It's a beautiful effect with still cameras, but I would definitely test to see how the color science would work with a Red. You can vary the effect by adding 1/8 or 1/4 CTB to the tungsten lights to narrow the difference between the two sources. 

Obviously, the main issue is that it would be a pain to grade out if the client decided he or she didn't like the look.


In Topic: Setting an Obie

21 July 2018 - 04:08 PM

I need it for the same reason Lucien Ballard created it, to eliminate imperfections and make an actress more alluring. I would have never thought of putting it under the lens, so thank you.

In Topic: How do I show color in a day for night scene?

06 May 2018 - 08:51 PM

So how did it work out? What did you wind up doing?


In Topic: How to expose logarithmic gamma correctly?

17 March 2018 - 11:28 AM

The 18% gray card is so abused and misused, I feel bad for it....The Kodak instructions that come with the card explain that you have to position the card at 1/3 of the angle between the camera and the main light both horizontally and vertically (by angling it, less light hits the card so that it is not at 18 percent reflectance anymore). Then you open up by 1/2 a stop over that. 

 

If you like olden days film lore, you were supposed to include a few frames of a gray card in all of your shots as a neutral reference for the color timer. Kodak also suggested using a gray card to tell your timer exactly what you had in mind for exposure. If you wanted your film to be printed darker, you were suppose to expose your film as normal, but include a shot of the gray card overexposed, for printing lighter you underexpose the card. That way, when the film was printed, the timer would use the image of the card to set the exposure of the print and your image would look just the way you wanted it (theoretically).  


In Topic: How to shoot a feature on Alexa without a focus puller?

01 March 2018 - 06:02 PM

I was looking for something else in the forums, but found this comment from Phil Rhodes in 2013:

 

"Focus pulling HD video on 2/3" video cameras is difficult.

 

Focus pulling on 16mm film, micro four-thirds video, or something like a Blackmagic cinema camera, is very difficult.

 

On 35mm, APS-C or similar sensors, it's so hard they usually employ someone whose sole job it is, and give him a lot of time and technology to get it right, and still expect to blow one take in three when it gets particularly taxing.

 

On full-frame DSLRs, Vistavision, 65mm, or equivalent, focus pulling is a sort of Zen meditative pursuit that's been known to drive people completely underside pumpernickel intrinsic caboose caboose rumplestiltskin."


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Abel Cine

The Slider

CineLab

Gamma Ray Digital Inc

Metropolis Post

Abel Cine

Technodolly

Glidecam

Tai Audio

Paralinx LLC

New Pro Video - New and Used Equipment

Media Blackout - Custom Cables and AKS

rebotnix Technologies

Wooden Camera

Willys Widgets

Ritter Battery

CineTape

Aerial Filmworks

FJS International, LLC

Visual Products

Rig Wheels Passport

Broadcast Solutions Inc