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For color grading purposes, anyone knows how to deal with Log footage? Let's say I'm working with c-log 4444 2K alexa prores... would I need a LUT to convert log to linear? Can I grade the log footage... and then, when do I would apply the 709 curve to be ready to broadcast? and what if I wanted...

Hi, I recently asked a question about the amount of light you need to have proper exposure using non-processed signal such as RAW and in a different way, S-log or C-log material. The point is that manufacturers are giving some ideal IRE settings for what they believe their curves apply. For...

Hi Dave, I recently shot a documentary short film in Bolivia using a viper camera and 422 raw mode. We didn't have any budget for lights and we were really short on our crew... so we almost always shot using available light. I tend to prefer backlit situations for the scene and we tried to use...

Hi, I'm working as a HD Technitian in a HD feature film in wich we're using a couple of viper filmstream cameras. As they feed a sort of Log curve the image is flat and greenish. We've been correcting the monitoring image by applying LUTs and would like to hear some opinions about exposure...

Hi, this might be a little overexplained but I am a little bit confused about exposure in digital media where Log curves o raw formats are used. In fact I would say that my question would also be applied to analog cinematography in the way the latitud is increased regarding the output media...

Hi, I'm working as a hd technician but has never understood how is measured the noise in a digital camera. I also see that this noise is very much likely to be noticeable in the dark areas of the image, this shouldn't be a problem if you intent to lower the blacks, but what about the dark...

Hi, I'm preparing a feature film that's going to be shot with two vipers and recorded onto a OB1 (444 RGB 10 bit log) to be transfered into a 422 rgb signal (captured via downconverter). Would like to know if anyone knows the basic workflow (including transfer codecs, if to apply a correction...

Hi, I'm preparing a feature film that's going to be shot with two vipers and recorded onto a OB1 (444 RGB 10 bit log) to be transfered into a 422 rgb signal (captured via downconverter). Would like to know if anyone knows the basic workflow (including transfer codecs, if to apply a correction...

This week, while I was making an interview with a couple of reds I took a look to the set that a big Tv channel was putting on for another interview. The interview took place in a big room where some outdoor light was coming in trhough the window, and the cameraman used a bunch of kino and some...

I've just shot a low budget movie on the hvx200 and we're about to finish the editing process. So I've began to think about the nest step and, even if we just don't know how will the outside world react to our self-produced experiment, the directors want to have a realese print to project it on...

Anyone knows how to backup the footage shot into a fs100 hard drive with the panasonic p2 into a tape, using the camera as a video?

Anyone knows how to backup the footage shot into a fs100 hard drive with the panasonic p2 into a tape, using the camera as a video?

I'm about to shoot a movie (low budget of course) with the hvx-200, I've tested it's quality and I found it superbe, but by reading it's description there's something I don't understand. The ccd is supposed to have a natural resolution of 720 lines on progressive scan mode, or 1080 on...

I´ve just shot a commertial that took place outdoors in what was supposed to be a garden at early in the morning. As the main character arrived at 15pm (first nightmare) and we had to shoot 4 different situations we were in a big hurry... as usual the sun did set down before we finished and as I...

Thinking about the progressive mode of the new dv or hdv cameras I would like to know your opinion about wether to shoot on progressive or on interlaced. I've talked to an editor who prefered the interlaced pictures so he would be able to give the picture the specific cine-look he wants. That's...

This is not the first time I use a soft white promist as a way of avoiding the whites to clip while using digital. I used it on a commertial we shot under an overcasted sky, as I wanted the most latitude I coul obtain on digital I set the camera (sw-750P) on minus 3dB of gain and used a soft...

I´m going to have to shoot a little commertial in a few days that will take place in a garden, the creative wants an ambient that communicates comfort, with broken backgrounds and a shinny morning light. He wants medium shots of a person talking as if he was speaking with another persons about...

For my next shooting the director asked for a kit of shift and tilt lenses. I´ve never used this system even if I have a little idea of how they work. We´ll shoot on super 16 with 35mm shift and tilt kit and I´m not sure about how the aperature will affect the depth of field in this case, those...

I have to shoot a commertial on super 16 format and with fuji stock, as I´m new in cinematography (was photographer and videographer) In tungsten balanced fuji film stocks I found two different areas, the F classical stock and the Eterna stock. I would like to know if there´s any important...

I´ve just been told of a new commertial I have to shoot and it´s possible we have to light a shot in a supermarket. I was wondering how to light such a big area, thinking about an easy way to do it as it´s going to be a low budget shooting... I wonder if the only way to do it is to cover all the...