The arrival of the latest HD camera Technology is bringing a new dimension to to program making. But new technology comes ‘ At a price, and for independents that can present a Challenge. Freelance cameraman Simon Fuller Has traveled the … Continue reading
Great example of filming by air. This sequence shows the difference between graded and ungraded pictures. On the right we have the raw unprocessed shot. And on the left we have the processed image. Processing performed in FCP, this basic grade shows how improved the sequence is once graded. Here are some aerials shot in December 2009. Including the A380 VH OQE. At Melbourne Aerodrome.
The Aircraft I was filming form was a Eurocopter AS-350B-3 Ecureuil SN 3916 equipped with FLIR System media 3. Pilot Ross Barker.
Here is some more info on the AS350b-3.
Development began in the early 1970s to replace the Alouette II, and the first flight took place on 27 June 1974.[1] Despite the introduction of the EC130, production of the Eurocopter AS350 remains strong.
Both single and twin-engined versions have been built under licence by Helibras in Brazil.
The Helicópteros do Brasil (Helibras) subsidiary of Eurocopter signed a contract for a major upgrade program on the Brazilian Army’s fleet of 36 AS350 Ecureuils.
On May 14, 2005 an AS350 B3 piloted by Eurocopter test pilot Didier Delsalle (fr:Didier Delsalle) touched down on the top of Mt. Everest, at 8,850 metres (29,035 feet) .[3] This record has been confirmed by the Fédération Aéronautique Internationale.
On April 29, 2010 a stripped-down AS350 B3 succeeded in rescuing three alpinists from Annapurna at 7,100 m, one at a time, the highest such rescue ever.
AS350 B3
High-performance version, is powered by a Arriel 2B engine equipped with a single channel (DECU) Digital Engine Control Unit with a mechanical backup system. This helicopter is the first ever to land on Mount Everest. Recently introduced AS350 B3/2B1 variant introduces enhanced engine with dual channel (FADEC) Full Authority Digital Engine Control, dual hydraulics and a 2,370 kg (5,225 lb) Maximum Take Off Weight.
Have a look at this link to see the benefit of grading pictures. Production now are having D.O.P’s shoot for the grade. this means that pictures on location look very milky and disconcerting.
LUT’s or look up tables are use on set to help directors and other non technical crew envisage what a shot will look like. Newer cameras like the Sony F3 allow the ability to monitor both REC 709 and both S-log pictures simultaneously. This is done with a firmware upgrade. Cameras like the Thompson Viper and the Red and HDCAM cameras all benefit with the help of look up tables. Director of photography every were love look up tables.
As briefly mentioned earlier the Sony F3 in a software update will allow the monitoring of both S-log and REC 709 pictures simultaneously Sony F3
What does this all mean? This firmware allows the F3 to output full RGB video in S-Log – in other words, it opens up the true potential of this camera. S-Log ups the dynamic range of the camera to 800%, and effectively increases the ISO to 1600. Dual-Link SDI or 3G-SDI (dual-link on one cable) gives you full RGB444, and the LUTs allow you to monitor video normally while shooting in S-Log. Finally, the five custom LUT options mean that users can create their own looks in the same manner.
Chroma Key tips
Chroma king or green screen as it is also known is a technique where a person or an object is composted onto a background and with the correct lighting techniques and post production the shot is believable by the viewer. The most common use of Chroma key is on the evening news when the weather segment comes on. When you saw Superman flying through the sky this was also a Blue/ green screen shot. In both cases the Christopher Reeve and the weather presenter were in front of a coloured screen Blue or Green.
WHY Blue or green? There are many colour’s in the spectrum that can be used to do a key. Though blue and green are the furthers away from Human flesh tone that is why . Blue is favoured more for Video and green is favoured more for Film work. Personally I prefer green as my key background. If somebody has blue eyes you could be in for a bit of trouble. Sure you can fix it in post though you don’t want to be responsible for a budget overrun. When the blue eyes will have to be matted back in that is going to cost more from the post budget.
Lighting the background is very important you need an even spread of light on the screen. Your light should be flooded and soft. Once you have placed your lights. This is where a big room is useful if you are not in a studio. Use a light metre to check the exposures and that they are not overlapping. It is also possible to see hotspots on the key in with the zebra pattern, or light metre.
It is now time to begin lighting the foreground. This will entail lighting the subject relative to the background. If you have a copy of your background or plate, it is easier create a believable foreground. If you have shot the back ground plate then you will have made note of all the lighting parameters, Sun position ect….
That is the essence here of a successful key. Allowing the viewer to believe that they are watching a real shot not a composite. There are times when you get a verbal creative of what your key will look like and then it is guess work. Good luck!
The Cameraman is a 1928 American silent comedy directed by Edward Sedgwick and an uncredited Buster Keaton.[1] The picture stars Buster Keaton, Marceline Day, Harold Goodwin, and others.
The Cameraman was Keaton’s first film with Metro-Goldwyn-Mayer. It is considered by fans and critics to be Keaton still in top form, and it was added to the National Film Registry in 2005 as being deemed “culturally, historically, or aesthetically significant.”
Within a little over a year, however, M-G-M would remove creative control over his pictures from Keaton, thereby causing drastic and long-lasting harm to his career. Keaton was later to call the move to MGM “the worst mistake of my career.”[2]
Contents [hide]
1 Plot
2 Cast
3 Critical reception
4 Awards
5 See also
6 Footnotes
7 External links
[edit]Plot
The story tells of Buster (Buster Keaton), a tintype portrait photographer who develops a crush on Sally (Marceline Day), a secretary who works for the MGM’s newsreel department. Hoping to impress her, he purchases an out-of-date movie camera and attempts to get a job in the newsreel department as a cameraman. He is thwarted in his endeavor by Harold (Harold Goodwin), a current cameraman who recognizes Buster’s inexperience and also has designs on Sally.
Sally suggests that Buster film anything and everything, but Harold’s suspicions prove true; Buster’s footage is useless. He has double exposed or over exposed much of the film and the rest is simply no good. Despite this Sally accepts Buster’s request for a date, and they meet next day. They go to the city plunge where Buster gets involved into numerous incidents.
The next day, Buster’s luck at MGM is no different than the day before, but Sally gives him a tip that something big is going to happen in Chinatown and he should film it. On his way, he accidentally runs into an organ grinder and apparently kills his monkey. A nearby cop (Harry Gribbon) makes Buster pay for the monkey and take its body with himself. The monkey turns out only to be dazed and joins Buster on his venture.
Once in Chinatown, Buster witnesses a Tong War and narrowly escapes death on several occasions while constantly filming the events. At the conclusion of the hostilities, he is arrested, but makes his escape with his camera intact.
Returning to MGM, Buster and the boss are dismayed to find that he apparently had no film in his camera in Chinatown. Buster is thrown out once and for all, and Sally finds herself in hot water for giving Buster the tip.
Despite losing Sally, Buster continues with his filming activities, planning to film an afternoon on the river. He discovers that his Tong footage is intact after all, as the monkey has switched the reels. At the same time, Sally and Harold are having a date in a boat on the river. An accident causes their boat to spiral out of control. Harold saves himself, but Sally is saved by Buster. When Buster rushes to a drug store to get medical supplies, Harold returns and takes credit for the rescue. The two go off, and the broken-hearted Buster is left at a river bank. Unbenownst to him, his monkey has captured the whole thing on film.
Buster decides to send his Tong footage to MGM free of charge, and the Boss is thrilled by what he sees, claming that it is the best camerawork he had seen in years. At the end of the reel is the footage of Buster’s rescue of Sally, exposing Harold as a fraud. The boss wants to hire Buster and asks Sally to bring him there. The two happily reunite and stroll off hand in hand.
