Funny we had a DOP refusing green gels recently though he did come round in the end.
Howard > On 2 Apr 2014, at 05:55, Frank Rueter|OHUfx <[email protected]> wrote: > > Yeah, we shot everything on 800 which seems to be every DOPs' standard flavor. > I also had to fight with the gaffer to give me a little bit of light on his > rather orange "green screen". He kept insisting that, because it was > perfectly on exposure, "it will sing - trust me". The fact that the colour of > a green screen is important as well didn't seem to occur to him at all > (quote: "the colour is shit but it's perfectly exposed"). > I had to show him GreenScreener on my phone to convince him that some > lighting was in order, though he refused to give me the blue/green gels I was > asking for, so I now have a perfectly exposed orange screen with under > exposed warm interior in the fg. Can't wait to get the plates :) > > > > >> On 4/2/14, 11:00 AM, Howard Jones wrote: >> We had a problem on a shoot a few years ago. Was 4:4:4 afaik on an Arri but >> at the time they were recommending 800 ASA. >> >> As it was a night scene the DOP underlit. Now because of the gamma curve, >> especially as it was set to gain detail in blacks, the noise levels were >> awful. Worst keying I've ever had to do. >> >> I understand 200 ASA is now recommended. >> >> Unfortunatly here 4:4:4 didn't help at all. >> >> Howard >> >> On 1 Apr 2014, at 22:19, Frank Rueter|OHUfx <[email protected]> wrote: >> >>> I just came back from a shoot where I did just that - insist on 2k 4444 >>> compression. We were meant to shoot 3k raw but since production failed to >>> secure a T-Link, 2k prores 4444 was the next best thing I could ask for. I >>> told them 422 would be unacceptable for vfx, especially for keying. >>> >>> >>I always ask the vfx house why and they shrug their shoulders >>> The only "problem" on set is simply the increased data rate, hence the need >>> to swap ou the card a little more more often and require more disc space >>> (and a little bit of more time) for the data wrangler to manage backups etc. >>> I can see this as an argument for drama only shots when you try to decide >>> between 2k and 4k raw, but in I would never take this as an excuse to shoot >>> 422 footage for vfx use. I'd rather not take the job. >>> >>> The more severe reason for this is usually simply lack of knowledge on the >>> production side and lack of communication up front to establish the >>> required camera settings before it's too late. It's a good idea to have the >>> camera's spec sheet handy and refer to that before the shoot to avoid any >>> misconceptions. >>> >>> >>> Sorry if this sounds a bit smart-arsy, but since I just had that very >>> scenario last week I thought I'd chime in. >>> >>> >>> Cheers, >>> frank >>> >>> >>> >>> >>> >>>> On 3/30/14, 1:23 PM, Deke Kincaid wrote: >>>> The lowend Alexa shoots 12 bit Prores 444 on the SxS cards in LogC. >>>> Though for whatever reason tv shows always seem to shoot it in 422 mode. >>>> I'm not sure if it's out of habit or they are trying to get more time on >>>> each SxS card? I always ask the vfx house why and they shrug their >>>> shoulders and say they couldn't sway production to do it differently. I >>>> would just try to push production to shot prores 444 instead of getting >>>> another device. >>>> >>>> >>>> >>>> >>>> >>>> -- >>>> Deke Kincaid >>>> Creative Specialist >>>> The Foundry >>>> Skype: dekekincaid >>>> Tel: (310) 399 4555 - Mobile: (310) 883 4313 >>>> Web: www.thefoundry.co.uk >>>> Email: [email protected] >>>> >>>> >>>>> On Sat, Mar 29, 2014 at 4:10 PM, J Bills <[email protected]> wrote: >>>>> Hey y'all - might be a little behind the curve here but doing a batch of >>>>> greenscreen shots shot on Alexa and it's pretty ratty. this is 4:2:2, >>>>> but just doing a couple of google searches shows that there's a not >>>>> terribly expensive (relatively) "Gemini" recorder that can get 4:4:4 off >>>>> of it, so it seems like I might need to forward a couple of links and >>>>> make some "suggestions" for next time. ;) >>>>> >>>>> Just curious since I've not looked into it for a while - is there a new >>>>> killer setup that can get nice clean 4:4:4 GS HD footage on a reasonable >>>>> budget? bonus points for 10 bit, log, dng, etc. >>>>> >>>>> You hear blips about the Blackmagic cams or Magic Lantern setups or >>>>> whatever but I'm just curious if anyone has been keying any of this stuff >>>>> and been impressed with anything, or done some testing? >>>>> >>>>> Anything reasonably portable out there you've come across or do you still >>>>> need to tether to a RAID and capture through HDMI? >>>>> >>>>> NAB is just around the corner! >>>>> >>>>> _______________________________________________ >>>>> Nuke-users mailing list >>>>> [email protected], http://forums.thefoundry.co.uk/ >>>>> http://support.thefoundry.co.uk/cgi-bin/mailman/listinfo/nuke-users >>>> >>>> >>>> >>>> _______________________________________________ >>>> Nuke-users mailing list >>>> [email protected], http://forums.thefoundry.co.uk/ >>>> http://support.thefoundry.co.uk/cgi-bin/mailman/listinfo/nuke-users >>> >>> -- >>> <ohufxLogo_50x50.png> vfx compositing | workflow customisation and >>> consulting >>> _______________________________________________ >>> Nuke-users mailing list >>> [email protected], http://forums.thefoundry.co.uk/ >>> http://support.thefoundry.co.uk/cgi-bin/mailman/listinfo/nuke-users >> >> >> _______________________________________________ >> Nuke-users mailing list >> [email protected], http://forums.thefoundry.co.uk/ >> http://support.thefoundry.co.uk/cgi-bin/mailman/listinfo/nuke-users > > -- > <ohufxLogo_50x50.png> vfx compositing | workflow customisation and consulting > _______________________________________________ > Nuke-users mailing list > [email protected], http://forums.thefoundry.co.uk/ > http://support.thefoundry.co.uk/cgi-bin/mailman/listinfo/nuke-users
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