Jump to content


Photo

camera test for commercial


  • Please log in to reply
2 replies to this topic

#1 Matteo Cocco

Matteo Cocco
  • Basic Members
  • PipPip
  • 45 posts
  • Cinematographer
  • Germany

Posted 28 May 2008 - 09:08 AM

Hi!
I´ve a job as a 1st AC next week on a commercial.
It´s supposed to be one day testing and two days shooting.
Could you give me some tips about testing for commercial, it´s going to be on 35mm with the ARRI ST.
what happens with the film I shoot for the testing? How am I going to take a look at it if the next day we´re already shooting?

another question: how do you normally test lenses during prep. (please give details!)

Thanks for help,
cheers. Gigi
  • 0

#2 Allen Achterberg

Allen Achterberg
  • Basic Members
  • PipPipPipPip
  • 437 posts
  • Cinematographer
  • Santa Maria CA

Posted 28 May 2008 - 12:35 PM

You can test lenses by having them Projected during prep. It's quite revealing. Otherwise, just follow normal prep procedures.
  • 0

#3 Rory Hanrahan

Rory Hanrahan
  • Basic Members
  • PipPipPip
  • 175 posts
  • 1st Assistant Camera
  • NYC

Posted 28 May 2008 - 08:50 PM

The film you shoot for the reg test / framing charts / etc should be sent off to the lab for rush processing while you're still checking out. If you cannot arrange to view the projected negative after it gets processed, the lab should be able to take a peek at it and let you know if there are any immediate and noticeable problems. Talk to the production manager and make sure they have let the lab know that this will be happening.

Most (good) rental houses will be able to project the lenses to show you their quality and sharpness. If they can't do this you'll have to rely on your own eyes thru the finder to judge the lenses' quality. Use the sharpness chart in your checkout booth / room at the full range of aperture and focus at different distances and if the lens doesn't look sharp, doesn't focus true to the barrel markings, or just looks like an old beat-up piece of glass talk to the rental techs, as well as production, about the problem -- and work out a solution.

It can be a hectic day, especially since you'll start shooting the next morning (leaving little time to deal with the problems that may arise), but keep a level head and deal with all of this stuff as systematically as possible and you'll be fine.
  • 0


rebotnix Technologies

Abel Cine

Aerial Filmworks

CineTape

Glidecam

Rig Wheels Passport

Media Blackout - Custom Cables and AKS

Broadcast Solutions Inc

Metropolis Post

Tai Audio

Willys Widgets

Wooden Camera

Gamma Ray Digital Inc

Technodolly

Visual Products

Ritter Battery

Paralinx LLC

The Slider

CineLab

New Pro Video - New and Used Equipment

FJS International, LLC

Willys Widgets

Broadcast Solutions Inc

CineLab

New Pro Video - New and Used Equipment

Abel Cine

Gamma Ray Digital Inc

Media Blackout - Custom Cables and AKS

Tai Audio

Aerial Filmworks

Metropolis Post

Visual Products

Technodolly

The Slider

Ritter Battery

FJS International, LLC

Wooden Camera

Paralinx LLC

CineTape

rebotnix Technologies

Rig Wheels Passport

Glidecam