在Global shutter用的曝光邊方法使用數碼取樣，傳統的 rolling shutter 所用的是Mechanical shutter movement
在動態攝影中最為明顯見到效果差別
Global shutter Exposure
Rolling Shutter Exposure
2016年9月8日 星期四
2016年5月13日 星期五
BUDGET PLAN TY 04
TY 04 <<烏蠅>>
LOCATION：灣仔平CAN廚房，伯大尼惠康劇場
SHOOTING TIME ： 27－28/3/2016
LIGHTING : DAYLight (indoor/ mix)
Camera:
$ 2500 CANON C500 Camera Set ,24-70, 16-35, 70－200, 85 Lens
$ 500 Tall Tripod + Short Tripod+ Hi-Hat
$ 500 Track Straight X4 ,Track Curve X3 , Platform Dolly X1
$ 3000 Steadicam
$ 500 17" HD LCD MONITOR ＄1000 wireless link
LOCATION：灣仔平CAN廚房，伯大尼惠康劇場
SHOOTING TIME ： 27－28/3/2016
LIGHTING : DAYLight (indoor/ mix)
Camera:
$ 2500 CANON C500 Camera Set ,24-70, 16-35, 70－200, 85 Lens
$ 500 Tall Tripod + Short Tripod+ Hi-Hat
$ 500 Track Straight X4 ,Track Curve X3 , Platform Dolly X1
$ 3000 Steadicam
$ 500 17" HD LCD MONITOR ＄1000 wireless link
＄1000 wireless SDI video link
＝＄9000
Lighting:
$600 LED Panel X 3
$ 130 650w x 2
$ 200 48” SINGLE BANK KINO FLO
$ 600 JEM BALL 22” 1K x 2
$ 60 004 X6
$ 270 C-Stand Set X9
$ 80 Sandbag X8
$300 32A cable x6
$40 32Ycord+16Ycord
$60 16A to 13A adapters x 6
$60 4-way extension x 6
$720 12 x12 butterfly set with frame
$550 ARRI 575
$700 M 18
$1000 800 joker
Lighting:
$600 LED Panel X 3
$ 130 650w x 2
$ 200 48” SINGLE BANK KINO FLO
$ 600 JEM BALL 22” 1K x 2
$ 60 004 X6
$ 270 C-Stand Set X9
$ 80 Sandbag X8
$300 32A cable x6
$40 32Ycord+16Ycord
$60 16A to 13A adapters x 6
$60 4-way extension x 6
$720 12 x12 butterfly set with frame
$550 ARRI 575
$700 M 18
$1000 800 joker
$ 30 手夾X 3
＄45 24”X36” Flag X3
＄100 48“X48“ Flag X4
＄25 24“ x 36” Silk
＄ 60 Apple box set x 2
Crew:
$3600 camera assistants x 2
$3300 Gaffer
$3000 Best boy x 2
$2000 Grip x 2
=$ 23800
以上報價以SALON FILMS 作參考。
2016年5月1日 星期日
7 Quick Production Tips for Film and Video Professionals
在學校的拍攝當中，機燈組經常性和製片組有磨擦，我們同學之間也有再三討論過如何可以磨合。
問題許多時出於，機燈組可能事前預備不足，或突發事情，機燈組在先天要處理解決現場問題時，要試圖去處理問題時製片組的幫助是十分重要；但製片組的工作重於事前的安排，預備。前者和後者在突發與準備之間就有所磨擦。
在拍攝當中，除導演要處理選擇在作決定外，攝影是首當其衝最觀察性了解現場和處理問題，但在學校的分工中，許多時人手多大家會缺乏去了解各崗位的任務。
而言當自己要去處理問題時，從簡單，低成本，直接解決問題下，能幫助自己去處理攝影上的問題之外，預備充足，去幫助簡化事情，是為大圍最理想的工作方法。
Running out of time and money? These quick and easy filmmaking tips and DIY production hacks just might save the day.
Image via Paramount
As any filmmaker or videographer can tell you, the real job of the production crew is to solve the various daily challenges that inevitably arise on set. Because believe me, there are always going to be challenges — and you will have to be prepared.
The best way to be prepared for potential issues is to stay flexible and creative. With that said, let’s take a look at a few handy production quick tips and DIY hacks that just might save the day on your next shoot.
Image via Paramount
As any filmmaker or videographer can tell you, the real job of the production crew is to solve the various daily challenges that inevitably arise on set. Because believe me, there are always going to be challenges — and you will have to be prepared.
The best way to be prepared for potential issues is to stay flexible and creative. With that said, let’s take a look at a few handy production quick tips and DIY hacks that just might save the day on your next shoot.
1. Don’t Scout a Location By Yourself
Location scouting is a very important part of the production process. When you’re ready to scout your next potential film site, make sure you take the production manager/designer, cinematographer, and audio supervisor. You want these members of the crew there in order to judge if the location is manageable, filmable, and void of overwhelming noise pollution. They’re the experts — listen to what they say.
Video via Film Riot
Location scouting is a very important part of the production process. When you’re ready to scout your next potential film site, make sure you take the production manager/designer, cinematographer, and audio supervisor. You want these members of the crew there in order to judge if the location is manageable, filmable, and void of overwhelming noise pollution. They’re the experts — listen to what they say.
Video via Film Riot
2. Use a 3D Printer for Small Props
If you find yourself lacking a specific prop, don’t fret. 3D printers are a practical and increasingly common solution. In fact, as wild as it sounds, many of the props you saw during Star Wars: The Force Awakens were printed with a 3D printer. Check out this article from Scott J Grunewald about 3D prints in the latest Star Wars.
Video via Tippett Studio
If you find yourself lacking a specific prop, don’t fret. 3D printers are a practical and increasingly common solution. In fact, as wild as it sounds, many of the props you saw during Star Wars: The Force Awakens were printed with a 3D printer. Check out this article from Scott J Grunewald about 3D prints in the latest Star Wars.
Video via Tippett Studio
3. Make It Rain
Does a scene in your film call for rain? Well, until weather-control technology improves, you’re just going to have to fake it. Fortunately, one of the most common artificial weather effects in film is rain.
As seen in the top image, the production crew from Noah used a massive rain rig for certain scenes in the film. While this setup is incredibly expensive, there are far more cost-effective options for indie filmmakers. If you need a cheap DIY rig, check out this video tutorial from Tom Antos and find out how to make it rain for around $15.
Does a scene in your film call for rain? Well, until weather-control technology improves, you’re just going to have to fake it. Fortunately, one of the most common artificial weather effects in film is rain.
As seen in the top image, the production crew from Noah used a massive rain rig for certain scenes in the film. While this setup is incredibly expensive, there are far more cost-effective options for indie filmmakers. If you need a cheap DIY rig, check out this video tutorial from Tom Antos and find out how to make it rain for around $15.
4. Use a C-Stand to Capture Sound
If you’re going it alone on your next shoot, but still need a hand with audio, then get a C-stand and a boom holder. With these two pieces of equipment, you can set your boom pole and mic up wherever you see fit.
This technique is great for interview scenes in a documentary film. The setup can also be used on narrative film sets, though its advantages are far less. You can get your hands on an Auray Boom Pole Holder for around $40 and an Impact C-Stand for around $142.
Image via Filmmaker IQ
If you’re going it alone on your next shoot, but still need a hand with audio, then get a C-stand and a boom holder. With these two pieces of equipment, you can set your boom pole and mic up wherever you see fit.
This technique is great for interview scenes in a documentary film. The setup can also be used on narrative film sets, though its advantages are far less. You can get your hands on an Auray Boom Pole Holder for around $40 and an Impact C-Stand for around $142.
Image via Filmmaker IQ
5. Move Your Camera With a Furniture Dolly
When looking over your shot list and script, you’ll find scenes that call for the camera to move within the space. Now, you can capture this movement with a slider, Steadicam, or dolly track. However, these options all cost considerable cash.
If you’re low on funds (and filming on a fairly smooth surface), then head over to your local Home Depot for a furniture dolly. Place your camera and tripod on this $20 tool and get a decent moving shot for very little money.
Image via My Repurposed Life
When looking over your shot list and script, you’ll find scenes that call for the camera to move within the space. Now, you can capture this movement with a slider, Steadicam, or dolly track. However, these options all cost considerable cash.
If you’re low on funds (and filming on a fairly smooth surface), then head over to your local Home Depot for a furniture dolly. Place your camera and tripod on this $20 tool and get a decent moving shot for very little money.
Image via My Repurposed Life
6. Create Movement Without Moving
Known as the “Poor Man’s Process,” this is an easy way to capture car movement without ever putting the car in gear. As you’ll see in the video below, the Poor Man’s Process is where you leave the car stationary within the space, but you simulate movement by way of lights and other effects.
These other effects could include using a large fan alongside artificial rain or fog or anything that creates a sense of movement without actually moving the car. Filmmakers have been using this techniques for ages — it’s incredibly effective and allows you to visually control the scene much easier, versus filming in a moving car.
Video via WriterDirector
Known as the “Poor Man’s Process,” this is an easy way to capture car movement without ever putting the car in gear. As you’ll see in the video below, the Poor Man’s Process is where you leave the car stationary within the space, but you simulate movement by way of lights and other effects.
These other effects could include using a large fan alongside artificial rain or fog or anything that creates a sense of movement without actually moving the car. Filmmakers have been using this techniques for ages — it’s incredibly effective and allows you to visually control the scene much easier, versus filming in a moving car.
Video via WriterDirector
7. No Lights? Use a Window and a Reflector
I’ve always liked natural lighting. I try to incorporate it as often as possible, versus using a set of lights. One way to do this is through a window. Using a window can be fantastic, especially when you add a reflector into the mix. The video below from The Slanted Lens demonstrates how to effectively use natural window light to capture amazing imagery.
I’ve always liked natural lighting. I try to incorporate it as often as possible, versus using a set of lights. One way to do this is through a window. Using a window can be fantastic, especially when you add a reflector into the mix. The video below from The Slanted Lens demonstrates how to effectively use natural window light to capture amazing imagery.
2016年4月2日 星期六
3 Basic Tips for Creating Soft Light
柔光這個問題在我們兩次拍攝當中，許多時是被受爭議的地方。
在室內時當我們使用柔光拍攝，加 diffusion後散光會彈向四周，如何去按照現實與所需去閘光？加上我們一般拍攝家居還環境地方淺窄，如何去運用有限的地方再加以自己的方法去處理？雖說是各施各法，但也離不開以上去產生柔光的基本原則。
Soft light can give you top-notch results when shooting talent, but many amateur DPs struggle with the basics. Use these illuminating tips to soften your shadows on set.
Top image from New Slate Films
There’s no exact science to lighting talent, although most often soft lighting will be preferable over hard lighting. The reason, of course, is because hard, undiffused lights will cast harsh shadows on faces, exaggerating imperfections and flaws. Soft lights on the other hand, do the exact opposite.
Many first time DPs struggle to understand differences in light quality. As a result, they overlook some of the most basic fundamentals when on set for their first time. If this sounds like you, then read on! These three tips are essential to know when trying to create soft light.
1. Diffusion is everything.
Image from Pro Video Coalition
This first point is probably the most obvious one on this list. Diffusion is one of the simplest and easiest ways to soften your light source. Whether you use a professional silk or simply clip some diffusion paper to your light, the quality of light you’re producing will change immediately. Just remember, adding diffusion is a great start — but it’s not the only way to affect the softness of your light.
2. Get your lights close to your talent.
The proximity of your lights to your talent has a huge impact on the softness of the shadows it produces. The closer your lights are to your talent, the softer the shadows will be. This is surprising for many first time DPs as they often assume that pulling the lights further back will soften the light. Though, in reality, that will only expose the talent less, while creating harsher shadows.
3. Make your source bigger.
The third main factor to consider about soft lighting is the size of your source. A large light source will always be softer than a small source. So whenever you can, use the biggest light source possible. This doesn’t necessarily mean that you need huge lights, but rather that you create a huge source — these are two different things. For instance, you may point a small light at a large piece of diffusion, which effectively makes the diffusion your new source (not the light) and the overall softness will increase dramatically.
Hopefully these tips will help you out the next time you’re lighting a shot. Now here are a couple of handy videos that delve a little deeper into the points above.
Video Lighting Technique: Turn a Hard Light into A Soft Light
This clip from izzyvideo offers really good insight into the differences between hard and soft light and presents ideas on how to best create softer shadows.
Soft Boxes 101: A Lighting Lesson
This video from The Slanted Lens covers the basics of working with softboxes and touches on several of the points discussed earlier in this post.
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