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Shooting video projector on S16


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#1 brooklyn

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Posted 14 July 2005 - 03:40 AM

Hi,
Shooting a MV on S16 - 7218 in a full white studio. Director wants band to play infront of video projection played on wall behind....phasing out the roll bar is a non issue, but my main concern is projector colour temp. The video projections will also be from 16mm, but in B&W. The band is to be in colour. I'm thinking the CT of the projector (LCD or Straight video) will be bluish and much closer to daylight. Anybody ever done this before? I just want the B&W to read as neutral, with no colour cast. (I'm going to test, but thought I'd check out you folk first!)
Cheers
PS. Posted examples would be lovely if anyone has any :D
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#2 Chris Keth

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Posted 15 July 2005 - 02:11 PM

Hi,
Shooting a MV on S16 - 7218 in a full white studio. Director wants band to play infront of video projection played on wall behind....phasing out the roll bar is a non issue, but my main concern is projector colour temp. The video projections will also be from 16mm, but in B&W. The band is to be in colour. I'm thinking the CT of the projector (LCD or Straight video) will be bluish and much closer to daylight. Anybody ever done this before? I just want the B&W to read as neutral, with no colour cast. (I'm going to test, but thought I'd check out you folk first!)
Cheers
PS. Posted examples would be lovely if anyone has any  :D

<{POST_SNAPBACK}>



I think the projectors we have at schoola re somewhere in the 6500K range, so yeah, pretty blue. You might just have to test the projector you will use to get it dead on.
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#3 David Mullen ASC

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Posted 15 July 2005 - 08:15 PM

Why not shoot the material to be played on the projector through an extra 85B filter? It will look orange to the eye but correct to the tungsten-balanced film stock when projected.
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#4 Bob Hayes

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Posted 15 July 2005 - 08:47 PM

Or shoot your scene with HMI's
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#5 Tim J Durham

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Posted 15 July 2005 - 08:56 PM

Or shoot your scene with HMI's

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Hmm, let's see... On the one hand, I could use a $60 filter. On the other hand, I can use several
$5000 lights. THAT'S a tough call! You Hollywood guys crack me up.

Brooklyn,
Check out "Zentropa" by Lars von Trier before you shoot. He used rear projection beautifully in that film and you might get some good ideas from it.
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#6 brooklyn

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Posted 16 July 2005 - 01:12 AM

Thankyou gentlemen,
I'll report back with my findings after the test. I'll try a few things and see what happens.
Cheers
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#7 Bob Hayes

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Posted 17 July 2005 - 01:19 PM

[quote name='TimJBD' date='Jul 15 2005, 05:56 PM']
Hmm, let's see... On the one hand, I could use a $60 filter. On the other hand, I can use several
$5000 lights. THAT'S a tough call! You Hollywood guys crack me up.


Ouch. LOL. Us Hollywood guys work at lots of different levels of productions. If you are shooting a feature even a small feature it is not uncommon to carry a small HMI package a 2.5 and a couple of 1.2 HMI?s. So it might actually be cheaper to use available lights then burn up $60.00 worth of gels. I?m not saying it is the only solution. Just another solution.

Also, It is important as you work on larger projects to match the level of personnel and equipment to the demands. Decisions that save a small independent film $100?s of dollars and make you a hero. Could cost a larger film $1,000?s of dollars and get you fired.
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#8 Stephen Williams

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Posted 17 July 2005 - 02:02 PM

[quote name='bob1dp' date='Jul 17 2005, 07:19 PM']
[quote name='TimJBD' date='Jul 15 2005, 05:56 PM']


Also, It is important as you work on larger projects to match the level of personnel and equipment to the demands. Decisions that save a small independent film $100?s of dollars and make you a hero. Could cost a larger film $1,000?s of dollars and get you fired.

<{POST_SNAPBACK}>

[/quote]


Hi,

Very true, recently I shot a commercial and my biggest light was a 6K par to save money! I needed to suppliment it with a 4K par. Supposed to be sunlight through a big window. The 18K I asked for would have saved time and money! but the producer knows best!

Cheers,

Stephen
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#9 Tim J Durham

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Posted 17 July 2005 - 03:04 PM

[quote name='bob1dp' date='Jul 17 2005, 02:19 PM']
[quote name='TimJBD' date='Jul 15 2005, 05:56 PM']
Hmm, let's see... On the one hand, I could use a $60 filter. On the other hand, I can use several
$5000 lights. THAT'S a tough call! You Hollywood guys crack me up.
Ouch. LOL. Us Hollywood guys work at lots of different levels of productions. If you are shooting a feature even a small feature it is not uncommon to carry a small HMI package a 2.5 and a couple of 1.2 HMI?s. So it might actually be cheaper to use available lights then burn up $60.00 worth of gels. I?m not saying it is the only solution. Just another solution.

Also, It is important as you work on larger projects to match the level of personnel and equipment to the demands. Decisions that save a small independent film $100?s of dollars and make you a hero. Could cost a larger film $1,000?s of dollars and get you fired.

<{POST_SNAPBACK}>

[/quote]
Hi Bob,
Ofcourse I was just having a little fun. The smiley face didn't seem to attach itself to my post.
:blink: Here he is. Next time I'm in LA, I know this great sushi place on 3rd...
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rebotnix Technologies

Media Blackout - Custom Cables and AKS

Glidecam

The Slider

Gamma Ray Digital Inc

Metropolis Post

Broadcast Solutions Inc

Visual Products

Rig Wheels Passport

Opal

Technodolly

CineLab