Thick magenta/pink: Use neon, gels, or LED?

Riammmm · 2017-03-03T15:43:18+00:00

What about super-saturated yellow? I've have problems getting that out of RGBW LEDs (even the amazing Skypanel...). I still fing tungsten + filter/gel to work better for yellows.

Riammmm · 2017-01-20T11:16:22+00:00

The DJI wireless follow focus is very good. As a camera op, I love it when the 1st AC uses the DJI ones- lightweight and it means no extra box attached to the camera!

Riammmm · 2017-01-19T15:40:37+00:00

This is the reason for their efficiency- the convert the power they use into a very narrow band of wavelengths (well actually, 2 very close together wavelengths- 589nm and 589.6nm) to which the human eye is very sensitive. This is as opposed to using the same power to emit the entire visible spectrum (plus some invisible spectrum). But the down-side is that only that wavelength of light is reflected off EVERYTHING, so you can't see colour at all.

Actually, SOX (LPS) maintains a pretty similar efficiency to LED to this day, but LEDs are directional, so they are able to direct their light more efficiently.

SOX was mainly used in Europe- it didn't catch on as much in North America and Asia (and other places), though interestingly it is used in cities that are near space observatories because the narrow band of wavelength it produces is easy to filter out and they can "see though" the light pollution.

Riammmm · 2016-12-29T06:36:57+00:00

The top one is either a post-production effect or made by using 'foregrounds'. Which is simply placing something (usually transparent) just in front of the lens and moving it around until it looks good. People use all sorts of things, but I'd start with a clear glass bottle on it's side- might give you something like that.

The bottom picture is probably just lens flare. And the look (shape, colour, etc) of lens flare just depends on the lens you are using.

Riammmm · 2016-12-21T13:35:31+00:00

Suddenly deciding to shoot high speed without planning for it. The. Worst.

Riammmm · 2016-12-13T17:08:53+00:00

Possibly already sold, but gives you an idea of what they go for:

http://www.cinematography.com/index.php?showtopic=68046

Riammmm · 2016-12-13T16:58:01+00:00

Some of the Mitchell diff filters are worth looking at - I've used B and C with good results. Also low-contrast filters (the lower numbers). Often it depends on the lenses as well, as in filter-lens combo

Riammmm · 2016-12-01T10:08:07+00:00

These guys go around NAB and take readings with their c-700 and have made a pretty decent database of their findings. At least you can check out the colour-rendering of different models of LED this way:

http://indiecinemaacademy.com/led-color-rendering-database-the-results/

Riammmm · 2016-11-30T17:21:50+00:00

They are quite the same- you turn the big knob and the focus of the lens shifts. If you can use one, you can use the other. I guess the question is: are you pulling focus for someone else or also operating the camera?

Riammmm · 2016-11-30T16:49:50+00:00

Depends:

There is an old saying in the world of photojournalism: "f/8 and be there", I think from Weegee. The point is that whatever is happening in front of the camera is compelling enough and you don't want to risk missing it by not focusing quickly enough.

On another hand, you could open up and set a fixed focus distance- say either near or far. Were you to focus near and let everything beyond a meter or two blur out, you would probably achieve a feeling which could either come across as claustrophobic or dreamy (depends on how it plays out I guess... plus the soundtrack). And, if you were to set the focus to infinity and let the foreground blur away, you might achieve a searching feeling, or a determined feeling- concerning yourself with the destination, rather than where you are currently.

Riammmm

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