Another informative article abut the craft of film making by Shane Hurlbut, lighting in particular. He goes through the basics of how to read a Colour Temperature meter and using that information to balance the lights in your scene – making practical lights and even street-lights more usable for your final image.
Several weeks ago, I went into how to read your light meter and why it is so important. I know that many of you have said the light meter is dead. Well, you are not on your way to serving yourself well as a cinematographer by thinking this way. You have to have the brick and mortar of light before putting together your creative house.
“Snapshots of Your Color Palette”
Production staff working on series such as Silent Witness, Mr Selfridge and Call the Midwife have threatened to disrupt filming through industrial action over pay.
Backstage union BECTU is preparing to ballot members to establish the level of support for the union’s claim for a £300 daily rate for grips – technicians who build, operate and supervise equipment to mount cameras. The issue, according to the union, has been “brewing for some months now”.
Yesterday I was filming at the World premiere of Amazing Spider-Man 2 which was shown live on Yahoo (the link above may still be showing the broadcast?)
It was a 5 camera Outside Broadcast with cameras and all technical facilities provided by Video Europe and the broadcast production by Sassy Films. I was on the red carpet with Will Best doing interviews with the stars of the film.
An interesting article by Sony ‘guru’ Alistair Chapman about recording and exposure techniques on the Sony F55/5 –
Prior to version 3 of the F5 and F55 firmware, Cine-EI was only available in raw mode with the R5 recorder attached. Now from version 3 onwards Cine-EI operation can be selected in both raw and non raw modes. You no longer need to have the R5 attached to use Cine-EI. EI stands for “Exposure Index” and in many respects Cine-EI mode mimics shooting on film.
The latitude and sensitivity of the F5/F55 like most cameras is governed by the latitude and sensitivity of the sensor and processing, which is 14 stops. Different amounts of conventional gain or different ISO’s don’t alter the sensors actual sensitivity to light, only how much the signal from the sensor is amplified.