[gx42]

Thank you for the reply, and these are great things to consider! The idea of losing information in my ratios is more speculative than anything. I’m trying to determine if I should be reading false color overlayed onto my LUT, or on the log signal.

I am using a SmallHD monitor (Indie7 at the moment). The camera really changes per project. Sometimes I will be able to use a Venice, F55 etc, which I can send out the Lut to the monitor. I haven’t tested this theory with these yet.

I found this issue using an A7siii/Fx3 (which are most of the jobs honestly) and these cameras do not send a lut to monitor. I have my viewing lut loaded into the SmallHD. I notice when I active false color, it automatically turns off the LUT. And I searched and there is no setting to keep the LUT on with EL ZONE. If I switch to Arri false color (on the smallHD) there is an option to leave the LUT on when viewing false color.

In theory, should false color be viewed with the Lut on or off?

Hope this helps give some context!

[gx42]

Much appreciated info thank you! I’m thinking of a way to get my hands on a few to test out and see the differences. Perhaps i’ll buy a few different 21″x24″sheets and side by side them. Seems like the affordable approach for testing

[gx42]

Thank you for this response also, David! I’m researching for a light diffusion options to test in the scenarios discussed earlier. Looking for a 4×4 size in a frame, to use before a larger piece of diffusion to fill it out more. Or, also put it in front of the larger diff to soften a face more without losing much level as Roger suggested. Roger suggested a brushed silk, but would a half soft frost also do the trick? How are its characteristics indoors? I feel like 1/4 grid cloth would be too heavy. I’m just looking to either soften a bit more, or spread a light a bit more, but without losing much level. Suggestions or other ideas welcome!

[gx42]

Thanks for the layered response Roger! Great insight to think about. I like the idea of letting some hard light spill around the softer area, all from one source

[gx42]

Thanks! I believe it’s a 3.5A, with the Tessar lens. Really fun to shoot with!

[gx42]

Here’s some thoughts and ideas to get the forum conversation going!

I think part of it will depend on the story and mood you’re after. Is it a brightly lit daytime story? Or is it dramatic and moody? Is it actual players on the court or a scene with people hanging out in the stands talking? Just some random first thoughts about the overall look!

In a general sense, see what you can control. Can you turn some of those lights out selectively? Or in groups?

Also yes negative fill will help a lot. Bring it in close to the talent and use more to block out areas in the background from getting hit with light. Can also put a flag/floppy overhead on the talent to block ceiling lights from hitting them.

Just check that you can get properly trained crew members for this type of rigging if you decide to do it. Anything overhead on talent, or very tall stands to block stadium lights, should be done by a pro Grip. You don’t want anything tumbling down, or catching fire if they are too close to hot lights!

Hope this helps spark some ideas!

[gx42]

I’m unsure if this is possible, but with internal electronic ND filters, it would be awesome to ND isolated parts of the sensor at different strengths. Essentially having built in graduated ND

[gx42]

Very interesting and excellent information. Thank you!

[gx42]

Hi David – Could you explain this a little further how a higher ISO would retain highlights? Intuitively, it would seem a higher ISO would push the sensor out of its optimal dynamic range and increase the intensity of highlights. Even with using ND, would you get more noise in shadows and less dynamic range? And is this characteristic camera specific for an Arri vs a Sony Venice or other camera for example, or do all digital cameras behave this way?

[gx42]

Interesting DIY workflow! Sounds fun. I hear great things about Tri-X. Haven’t used Kodak black and white, just color. I feel like people start with either Ilford or Kodak BW and then stick to it haha

[gx42]

Thank you all for the responses! I appreciate your individual perspectives on the topic as well as the technical information. It all comes to creative choices and this is the conversation I was looking for. I’m doing a test with light diffusion filters, and then with no diffusion and adding in post. We’ll see where I end up, thank you again!

[gx42]

That does make sense, I suppose I could create a file with the look and then monitor it on set. I have been a little headstrong on doing mostly practical/physical effects work on this video, but there’s no reason not to be open to this idea. Anything to make things easier and less complicated on set right? Appreciate the insight!

[gx42]

This is a good point, and i’m definitely interested in using diffusion in post production on other projects! The flexibility makes a lot of sense, and thanks for the plugin suggestion! For this video I have the freedom to experiment and “bake-in” effects like this, so i’m less concerned with flexibility. I’m curious to use more traditional glass filtration, and make creative decisions in pre-prod and on set rather than make them in post for this project. Thought it would be a good exercise to learn about diffusion choices and do them in-camera!

[gx42]

If you are only looking at cameras in this price range, any camera will do just fine for an indy project like this. Just rent a mirrorless setup. Most important thing is that you make the project!

The other option would be to use that money and hire a cinematographer. Or even find someone in school that knows cameras better, and is eager to work on their cinematography.

I suggest either shooting it with whatever you can get (and focus on the story), or bring people on with more experience. Filmmaking is collaborative!

This is just my 2 cents, I’m not one of the masters on here

[Author]

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