Search Results for 'no'

[benja]

Hello 🙂

Did the old posts disappeared? I can only see 24 about lighting and came to check one of them and it shows me the message: Error 404 – Page Not Found.

 

 

[dmullenasc]

The ability to dim an LED will make it more popular than HMI’s over time; the main issue today is just output. Even today, a Source-4 LED Leko is not as bright as a Joker 800 Jo-Leko.  I will be happy not to deal with HMIs in the future. However, I will miss tungsten fresnels!

[Stip]

I’d like to disagree (except about large HMI units won’t be replaced for many years to come).

LEDs are getting better and cheaper at a lightning speed. Even affordable LED film lights already have good color, heck even the newest dirt-cheap Chinese (non) brands get the accuracy pretty good by now. At this point, output punch is pretty much the only thing HMI still has the upper hand and I think large HMI units are the one’s that will stay around the longest.

Btw, I won’t miss the consistent color discrepancies from rented HMI, and needing to swap units or bulbs so often, at all.

[gabj3]

Cost and consistency,

Not to sound like a broken record but, a part from a single phosphor white light LED. All LED’s have spiky discontinuous spectrums that limit the gamut of colours being resolved underneath them but, also means cross shooting with different formats with different spectral primaries difficult.

A HMI does inherently have a spiky spectrum and does lack in consistency but, it’s tried and tested and we acclimatised to the disparity between fixtures.

If you buy an old decrepit HMI with a new bulb, you know what you’re getting unlike an old decrepit LED. Also changeable bulbs – that’s possible with LEDs but require calibration.

Also I believe from an actual power ratio LEDs and HMIs are similar. The difference is more a HMI bulb emits at 4pir2 as a point source and therefore loses total output in its ‘beam angle’ unlike an LEDs linear plane.

Also, heat dispersion for LEDs is still quite tricky so an 18k or 24k HMI may stay unmatched for a few years to come.

But, yes, LEDs are taking over… just buy the good ones!

 

 

Infinityvision.tv
Gabriel Devereux - Engineer

[TimoVanLierop]

I did a short promo video last year and my biggest lightsource back than was also a 2K Tungsten unit.

This is what we achieved with it. Was not really enough, but achieved the effect a bit.

[Roger Deakins]

I don’t think I would do things very differently on ‘Sicario’ or that any films I have shot would have looked substantially different if they had been shot on film. I know I would have used a little more light for the night scenes but that would have been just using slightly brighter bulbs or units in the same places. I would always allow myself a thick negative for dusk work so I would have underexposed some and printed down some which is not necessary shooting with the Alexa. There is a similar extended ‘magic hour’ sequence in ‘No Country for Old Men’, which was shot on film. Certainly that was difficult but it was also more complex than the sequence in “Sicario’.

It was true that film used to handle highlights better than digital but that certainly isn’t the case with the higher end cameras today.

[Roger Deakins]

A hard question. I doubt I would do things very differently if I were to shoot on film again. Yes, a little more light for night shoots but I wouldn’t think much else would change. I don’t agree that film requires more hard light. I might even suggest the reverse is true but projects are always different so it is hard to judge that.

Perhaps some lab work is a little less consistent than it might have been but there should be no issues with scanning.

[gcconnelly]

Hi Roger!

Unless I’m incorrect, the last time you shot a feature on film was on “Hail Caesar” in 2016.  You said on your podcast that it’s very unlikely you would shoot on film again, but I was curious if you feel like your process with film would be any different now than it was in 2016. Have there been any technical innovations that would change your process? How do you think you would go about dealing with the difficulties of maintaining your intended exposure since development and scanning practices are so inconsistent these days?

And lastly, do you think you would light a feature shot on film differently than you would if it was shot on digital? Obviously, you would need more exposure for something like a night exterior, but do you think there’s other facets of film that would change your lighting tendencies? For instance, I’ve heard some cinematographers say that they use more hard light on film than on digital.

[Rizzy]

Wow.

I have just finished watching this film and I was hooked from the first shot. I thought of this forum because I remember hearing Roger Deakins mention it in one of the podcast episodes and I’ve been meaning to watch it since then.

I doubt there is much to say about it that hasn’t already been said but a few things that stood out to me:

I was immediately struck by the realism of it, and I found the orchestration of the whole movie remarkable throughout. It reminded me of David Lean, or Lawrence of Arabia in that way, where you just think how did he get all those people to do that? Only with Lean it is because he has such a huge canvas, and with BOA it was smaller, like a documentary, but it all felt so much bigger outside of the frame.

I’d like to look into how it was shot. I wondered how the street scenes were done and if there would have been any lighting gear or if it was hand held. I don’t know enough to be able to tell by watching.

I found the pacing very refreshing. It seemed to me to be a movie that didn’t linger or embellish, and maybe unsentimental. I think there is a trend in more recent movies to draw out the drama a bit more, and this seemed to get to the point and then move on. Maybe that is more my perception than an absolute truth, just from what I have seen though. I should add, I don’t mean that as a criticism, I very much enjoy movies that do dig in more. Perhaps, in part, it comes down to the tools that are available and what they make possible. I don’t know, but I feel like I could spend the rest of my life thinking about differences in pacing and different degrees of how much character to show.

Interested in hearing from others on Battle of Algiers.

[Roger Deakins]

One last comment from me. I would always shoot a grey card for film and in the early days of digital capture. But as David says, we now use a specific LUT and what I see on set will translates exactly the same on the colorists screen. For that reason I see no need for a colorist to ‘correct’ footage to match a spec..

[Mike]

Hey Robert,

What a relief, we were so worried about you, so lovely to hear from you again, you have made my day. If you want me to mow your lawn just let me know!

Warm wishes to DI and family.

(I will now sleep well tonight) write any time, you have my email. 🥰

 

[Robert Dempsey]

We servied only tree damage no house problems here at all and we did not get any floods

[sharkbait93]

This may be a little on the late side and also possibly unhelpful. Below is a still taken for a ptc that I shot a little while back. We used haze and placed a daylight balanced 500w cob led fresnel fixture outside of the barn maxed out at 100% (you can see it pushing through the haze on the left of frame).

The reason that it might be vaguely helpful is that I believe this fixture is very roughly comparable to a 2k fresnel (the led may have a little bit more punch up it’s sleeve and is of course a different colour temp). The reasons that it may not be helpful are numerous but hopefully it can give a kind of guide as to what kind of output that fixture may be able to realise.

If you plan to shoot towards either end of the day when the ambient light levels are lower this will help your cause but I’m not sure that you’ll easily be able to get to the point of being able to use substantial diffusion with your fixture as well if only using a 2k. As has previously been mentioned, a fixture with more punch may well be the best way forward if you’re looking to create that much of an extreme effect.

I hope all goes well!

[bscofano88]

Hey Mike,

Thanks for taking the time to watch the film and also for writing such a candid feedback.

I read the forum almost daily and the community has taught me a lot, even if you guys are not aware of it. 🙂

Looking forward to sharing more films in the future here and to seeing films from other fellow members too.

[gabj3]

Keep in mind, for cameras up to the Mini; there was significant latency to the EVF. ‘Significant’ in our experience is 40< ms or more significant.

Keep in mind a camera is taking in signal, so a sensor readout which isn’t instantaneous even for a global shutter, converting it to digital, applying matrix/WB/EI math, OETF to LogC, LogC to Gamma transform (display) to briefly describe all the functions that need to take place for every pixel singular and then three channels of value before being displayed in the EVF (which in itself also has additional latency).

In the world of video tap, we define this as cumulative latency. Our links may be two-scan lines or two-frames of latency, but once you throw in-camera processing, display processing and genlock (non-applicable in this instance), it’s generally greater.

This introduces severe strain to the operator; with modern computation advancements, latency has decreased. Also, display technology has advanced.

Infinityvision.tv
Gabriel Devereux - Engineer