Diffusion doesn’t just soften light; it relays light. Here’s how I used a large piece of dense diffusion to light the inside of a car and hide the little known fact that the sun moves.
This spot was the first in a series of six that I shot two years ago for OnLive, a company that specializes in streaming gameplay over the Internet. They went through some rough times but now they’re back and they’ve decided to release these spots as part of a new ad campaign.
My lighting budget had to cover the needs of all six spots over five days, so I had to build an equipment package that worked for everything. This car was the only location that would normally have required some big lights to balance a dark car interior with a day-lit exterior and keep the quality and direction of light consistent over time, but we didn’t have the money for a generator and a couple of large HMIs. Fortunately I had two tricks up my sleeve: an Arri Alexa and a 12’x12′ frame of full grid cloth.
Author Art Adams
Diffusion doesn’t just soften light; it relays light. Here’s how I used a large piece of dense diffusion to light the inside of a car and hide the little known fact that the sun moves.
This spot was the first in a series of six that I shot two years ago for OnLive, a company that specializes in streaming gameplay over the Internet. They went through some rough times but now they’re back and they’ve decided to release these spots as part of a new ad campaign.
My lighting budget had to cover the needs of all six spots over five days, so I had to build an equipment package that worked for everything. This car was the only location that would normally have required some big lights to balance a dark car interior with a day-lit exterior and keep the quality and direction of light consistent over time, but we didn’t have the money for a generator and a couple of large HMIs. Fortunately I had two tricks up my sleeve: an Arri Alexa and a 12’x12′ frame of full grid cloth.
I’m a member of SMPTE, and as such I receive the SMPTE Journal fairly regularly. The latest issue contains an article that’s backed by the best intentions but, in the long run, poses an unintended threat to the film industry. The technical paper, entitled “Toward a Standard Model of HD Cameras,” details a very interesting process by which the authors…
I was initially thrown by the waveform display, which reflects the levels of the underlying log-encoded raw data at all times. Due to the log encoding most of the data was compressed toward the middle of the dynamic range, which is typical for a log curve, but that made it difficult to see what was happening to individual objects, like faces. Over time I learned that all I had to pay attention to was highlight clipping. If I set the exposure by eye based on what I saw in the onboard LCD and then checked that the clipped highlights were the ones I expected to be clipped (there’s always something clipped in a dark forest, usually the sky), I knew I had more than enough to work with in post. And I really liked the quality of the clipped highlights: they were white but not zingy, electronic white, similar to what I see on the Canon 5D Mk. III.
I was initially thrown by the waveform display, which reflects the levels of the underlying log-encoded raw data at all times. Due to the log encoding most of the data was compressed toward the middle of the dynamic range, which is typical for a log curve, but that made it difficult to see what was happening to individual objects, like faces. Over time I learned that all I had to pay attention to was highlight clipping. If I set the exposure by eye based on what I saw in the onboard LCD and then checked that the clipped highlights were the ones I expected to be clipped (there’s always something clipped in a dark forest, usually the sky), I knew I had more than enough to work with in post. And I really liked the quality of the clipped highlights: they were white but not zingy, electronic white, similar to what I see on the Canon 5D Mk. III.
Recently I taught my first lighting class, for Abel Cine, at Sony DMPC in Culver City, California. It got me thinking about how I know what I know about lighting, and why I seem to be able to explain it. One of the worst lessons I learned in film school was three-point lighting. I understand why it’s taught. It’s a…
Every once in a while someone who reads my articles shoots me an email and asks if I’ll watch their showreel and critique it. This can be quite hard, because most of these reels just aren’t ready for prime time yet. They’ll probably get their owner some work, or at least more projects to shoot as it’s sometimes enough for…
There are times when you’ll want to use a small camera like the Sony F55 without a viewfinder–say, if you’re mounting it on a crane, in a car or on a Steadicam. Apparently it’s possible to accidentally disable the data overly on the Sub Main SDI output, and Sony has released a set of instructions to help you turn it…
Sony gives us a lot of gamma table options in the F5 and F55. I recently had a chance to sit down with an F5 and map them all out, and in doing so I learned a lot about both gamma curves and how BlackMagic Resolve Lite handles them. I had no idea what I was getting into when I shot these tests. Usually I bring clips into Final Cut Pro, export them to Apple Color and capture waveform images from there, but according to Sony there are no current options to import XAVC HD directly into Final Cut Pro 7 or X. I’m not that familiar with BlackMagic DaVinci Resolve Lite, but I learned a lot… while putting a nice dent in both my forehead and the wall over my desk along the way.
On Monday you’ll see firmware v1.03 for the Sony F5 and F55 cameras appear on Sony’s website, but if you’re shooting over the weekend you can grab it now at the following links: Sony F5 firmware v1.03 Sony F55 firmware v1.03 As awesome as these cameras are there are a couple of nagging concerns that Sony is dealing with by…