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Yes and no. Anything in the scan off of the negative can be manipulated in color-correction, and anything detail that is 2-stops over is still visible on the negative. However, anything much beyond five or so stops over is burned-out and somewhat noisy on some scans, and if your subject is...

It's just a matter of the look you want for the day work, and what information you want to hold at the extreme ends.

Chimeras actually take less grip equipment since the diffusion frame and side flagging is built-in. You can use soft eggcrate grids on the front to reduce the spill further. Kinos also work well for soft moonlight. Basically soft lights need larger flags to cut them. It also helps to avoid...

Tell us how it all came out. You are all in a safe range, some of this is a matter of taste, just how hot or dark you want things.

Sure, you can get away with splitting the exposure and it will hold at both ends other than for extremely light-toned objects in the sun or dark-toned objects in the shade. My method is more to look at the frame and decide whether to bias the exposure more one way or the other depending on the...

The 7219 Vision-3 500T has only moderate graininess, similar to 200T. As a background goes overexposed, what burns out first to white depends on how light-toned it was, or whether it had extra light on it. But generally if you mean an interior where the view outside the windows 2 1/2-stops...

If you are shooting some contrasty b&w stock at high light levels, or at high light levels in general, higher than normal (let's say you are lighting interiors to T/8 or T/11 for deep focus effects) then a contrast viewing glass may be helpful.... but otherwise, I don't find much use for them...

Well, sharp and punchy are two different things. A 4K HMI fresnel is sharper than a PAR, but not as punchy. In terms of brightness, even an 18K HMI isn't as bright as the real sun, but as long as you are not directly competing with sunlight in the room, the 4K HMI fresnel should work fine...

Well, it could be grossly underexposed so that only the flash frames as the camera ramps up or rolls to a stop, which are normally way overexposed, are correctly exposed. But it sounds more like some other problem, maybe the shutter.

You frame for what's going to be projected, but you protect around it as much as possible. Safe Area lines tell you that what's inside the safe area will always be visible, but what's outside the Safe Area can also be visible, it's not a guarantee that it will be unseen. There is a mistaken...

My wild guess is that they are showing you the difference between the area that will be transferred to a 35mm anamorphic negative and also the slightly smaller anamorphic projection area. ANSI specs for an anamorphic camera gate are: 22.0mm x 18.59mm For the anamorphic projection gate: 20.96mm...

At a 5600K setting on the camera, the daylight compact flos will read a bit warmer with a hint of green, giving them a slight sickly yellow cast. How much green is in there, it depends on the bulb, the brand, etc. You'd have to test. Probably not too objectionable. You could also use the more...

I don't know your particular camera, but most video cameras, even consumer ones, allow you to set the white balance manually to a preset such as tungsten / 3200K -- sometimes symbolized with a light bulb. Or point the camera at a tungsten light bulb and lock the auto white balance there after...

Well, if a face is backlit by the sun, it actually doesn't make sense -- to me -- if it is exposed normally. It should FEEL like the face is not lit by the sun, but is shaded. So that means it should be exposed under or below key. Now whether you want it to only be one-stop under or...

It can't hurt to rate a 500T stock at 320 or 400 ASA if practical, because it gives you a little more leeway for accidental underexposure. In terms of how much you can underexpose the stock, it depends on how much underexposure you are talking about. You have to be specific, you have to know...

In film terms, the blackest area in the frame is the least dense (clearest) area on the negative. Basically a lack of exposure. So you can't really get any blacker than no exposure at all -- just leave the lens cap on or send an unexposed roll to the lab and have it processed. Basically the...

It's something of an old wive's tale that you need to add light/exposure into the blacks to make them blacker and less noisy/grainy. What you need is more overall exposure -- base density, signal strength, whatever -- so you don't have to lift or boost the signal, but instead, bring it down...

You need to open up one of those overhead fluorescent fixtures and read the label on the tube, though you can usually tell if they are close to daylight or tungsten. Modern offices would not use corrected tubes, though good Cool Whites (close to daylight) or Warm Whites don't have as much green...

No one makes a hard blimp for an ARRI 235, sort of defeats the purpose of designing a small, lightweight handheld camera. You could try throwing a furniture pad over the camera and backing off an using a longer lens. I've only used the 235 once, outdoors, so I don't know how loud it is with...

RAW and LOG tend to put white at a lower IRE level than 100 IRE in order to record extra highlight detail. So if you put white on a chart (Zone 10) and expose so that it hits the top of the scale in RAW view, you are losing some highlight protection, which is why RAW and LOG images tend to look...