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It varies from director to director, but it hasn't been a problem with me because if I sense during the job interview that that's all the director wants, just someone competent to push the trigger on the camera, etc., not an artistic collaborator, then I don't take the job. I tell them that up...

Blowing out -- i.e. clipping -- is mostly a problem when it's happening over too large an area of the frame, or where your eye is going to (which tends to be the brightest area in the frame unfortunately.) The glow or halation from the bright areas is the result of diffusion filters of some...

For most of those stocks, the only differences are grain/speed, the slower ones are less grainy. If you need less grain but can't drop to a 200T or 100T stock, I suggest you try the new 7219 500T stock. It would be closer to the grain of the 200T stock. If you a slightly softer and more...

The basic Musco has fifteen 6K HMI PAR's. It has its own crane arm and generator as part of an overall truck. Maxi-Brutes and Dinos are similar, both have banks of tungsten PAR64's (1K's), just that Maxis have 9 or 12 globes, Dinos have 24 or 36 globes. As you can guess, a Musco is very...

Just depends on how hot the window is. Since I was using big HMI's to light the interior to a decent f-stop, the balance with the exterior wasn't too bad, not nuclear. Sometimes I put a double-net scrim outside the window to knock the brightness down a little since the Primo anamorphics were...

Most actors can cry when needed, though not take after take. If they need some help, the make-up person will blow something (just air I think) into their eyes with a bulb, not sure. Or there are eyedrops for a watery eye effect. Two years ago, my dog died suddenly and even now, it doesn't...

1. You have to shoot at "safe" speeds. There are charts for that -- search under "HMI safe shooting speeds" or "safe speeds for 60 Hz lighting" or something. 24 fps is safe at crystal. 2. That's a good question that recently came up on Cinematography.Com and no one had a definitive answer...

Good lighting, composition, production design, costumes, locations, etc.

It's all about developing your powers of observation of light effects, whether in painting, photography, movies, or real life. Partly that's through repetition, close study. I'm not sure there is a "system" for learning this. I mean, what you mainly observe are the light's direction, quality...

The XHA1 does 24F, not 24P, but it's somewhat of a moot point, it ends up looking like the same effect. There is loss of vertical resolution with 24F but you're already starting out with much more resolution with the XHA1 than tha XL2. The "cinematic effect" is the same on both cameras. I...

Well, to some extent, you have to embrace your location and the all-white look, otherwise you should insist on a better location. One thing that helps is to use the white ambient bounce rather than fight it. Light for more contrast and angle the key light so that you like how it bounces into...

There is photometric data for different lamps for distances and spot or flood configurations, from the manufacturers. It's not a completely foolproof way of figuring things out but it's a starting point. Also look at this: http://www.rosco.com/us/software/lightshop.asp QUOTE: Light Shop is...

Because of the moving elements when you rack focus, the lens actually zooms a few millimeters, which is why the image looks like it is breathing. Some lenses are better or worse than others. Lenses with a big zoom ratio, like 10:1 or 20:1, tend to breathe worse than one with a short ratio...

24 fps doesn't really describe resolution (but then technically neither do pixels...) Compared to an interlaced-scan camera (50i or 60i), a progressive-scan camera (shooting like at 24P or any other "P" rate) will have improved vertical resolution when doing any film-out or for display on a...

With an adaptor like the P&S Technik, sure. There the video camera is rephotographing the image off of the 35mm cine lens as it is being projected onto a groundglass surface. If you're talking about putting 35mm cine lenses (usually with a PL mount) directly onto a 2/3" CCD camera with a B4...

Since the lens is so wide-angle, the fuzzy background was probably done in post, by rotoscoping around the person and de-focusing the background. It looks like maybe a bodycam rig was used but I'm not sure. That's where the actor wears a harness & rig to hold the camera to their body...

If you're an amatuer, almost any camera would work to practice on, it doesn't have to be fancy or even look that good. Eventually you'll want to consider a camera with a 24P option for more of a "film look" in terms of the motion, but you'll also have to learn all the ramifications of shooting...

Yes, you can easily take footage that is one-stop underexposed and darken it further in post to the level you like. You can even try shooting your grey scale one stop overexposed so that they make everything one-stop darker to compensate; just warn them that the footage following the grey scale...

If the grey scale was transferred incorrectly, then they made a mistake or ignored it. If you had instructed them to time to the grey scale, you can get them to redo the transfer. Dailies can look blue-ish if you shot the grey scale under the rising morning sun, while it is warm, but then shot...

You try to have the budget for both normal glasses that have an anti-reflection coating, and special glasses with "flat" lenses. In general, for "Akeelah" we used the normal glasses with coatings, which wasn't much more curved than the flat lenses we carried as well (since our main character...