9

It's not just about lumens. Generally you get what you pay for when you're buying lights, and the difference between an expensive LED and a cheap one is not usually the power output, it's the colour fidelity. White lights look white because they produce a range of colours which our eyes mix together and perceive as white. The better the light the smoother ...


6

Generally speaking, it is not possible to use a camera flash as a light for video. A true flash is a high intensity discharge bulb which produces a very short (1/100 second or shorter), very bright burst of light. It is not designed to be used for constant light output and has insufficient power, durability or cooling to be able to operate as a continuous ...


6

The following worked well for me, based on the same ideas http://www.premiumbeat.com/blog/quick-trick-for-de-flickering-your-video-shots/ https://superuser.com/questions/1025794/merge-two-videos-with-transparency-in-ffmpeg It's more than a year, so I don't remember exactly how I arrived at this. The VOB was a video shot from a projected screen with ...


5

To get a soft look, you can use: lights pointed at the walls and ceiling, to reflect and diffuse the light lights with a large surface area, like fluorescent tubes (which I use) or standard movie lights with big diffusers in front of them lots of little lights, though these may create lots of little shadows You'll still want at least a key light and a fill ...


5

The photo shows two grip heads, two arms and a c-stand. The kino would have its normal mounting plate (the one in the second photo). The two grip arms are interlaced together; this makes them trombone-able (adjustable in length), stronger, and gives the gag a longer reach. One grip head attaches the arms to the c-stand, another attaches the kino to the arms....


5

This light fixture will not solve your problems. As a painter, you surely understand the need to transfer paint to your canvas, so you choose the correct tool for the job. It could be a brush, an airbrush, a palette knife, your fingers, or you might just pour it on straight out of the bucket. So, too, must you learn to transfer light to your scene. A ...


5

Wattage has nothing to do with lumens, as different instruments provide a wide spectrum of output lumens based on lamp type. For instance, a 1.2K HMI ArriLite would put out more light than a 5000W tungsten lamp. LED, and flourescents are similar, higher output, less watts. What is critical for greenscreen work is that you use a monitor with a simple ...


5

Well the 2nd is better. But the correct way is to light your Green Screen first, and you want to have it lit so it's a flat 70 IRE. You'll need a monitor with a Waveform option, and the waveform should pretty much be a flat and very thin line at 70 IRE. You can't do that visually (eyeballing). Then you place your talent so that they are separated as much ...


4

Remember its all about the story. How to tell the story. And the tools you use to tell it. Editing, lighting, special effects and sound (are the tools used to tell your story.) Remember: story, story, story. Starting out: A good entry level camera to start filming with by Tom Antos. (Note: The Sony Nex-5 is discontinued,...


4

To reduce or eliminate the greenish reflection on the front of the table, you can buy some dark gray or black construction paper, or something equally non-reflective, cut it to size, and tape it over the 2 dark rectangles on the front of the table. I have 3 different solutions for the foot-shadows on the floor. You could point a semi-dim spotlight directly ...


4

You don't say what you're using to edit these videos, but there may be a better chromakey plugin for your platform than what comes natively. Also, again depending on your platform, most editors will allow you to crop the key area (garbage matte) so that the green screen doesn't have to cover the entire raster, just enough to back the product you're ...


4

I'll assume the camera op was fooling with the exposure? You'll need to key-frame color correction or AE's Auto Color function may work for you: https://helpx.adobe.com/after-effects/using/color-correction-effects.html If you go the CC route it may help to watch the YC waveform rather than the image itself. The Color Stabilizer effect may also work for ...


4

Here is a video that shows a series of effects from no Egg Crates® to 60°, 50°, 40°, 30°, and finally 20°. The answer is that up to a certain ratio of subject size and distance from the lighting source, Egg Crates make a light source more directional (harder shadows) while also allowing you to maintain a larger source (which offers the benefits of diffusion ...


4

I'm making a short film that takes place mostly in a car at night. Will I need a polarizer to see the actors through the windshield? A polarizer could help reduce reflections, but the best way to do such a shot if you desire no reflections is to shoot it in a way that there are no reflections to reduce. How you can best do this depends greatly on how you ...


4

This is actually a collateral effect of the concept of rolling shutter. Most video devices do not expose all the frame area at once. They expose starting from one side and (up or down) and move from there. (The example has the camera rotated 90° so the effect is on the sides of the frame). This can be either a mechanical element that moves or rotates or an ...


4

Mercury is enclosed within the bulb, and does not pose any threat to the user, unless the bulb breaks. In such case the amount of mercury released is still rather small, though it certainly makes sure to clean it properly. More important is safe disposal of the bulbs. See e.g. this article: https://earth911.com/home-garden/broken-cfl-clean-up/ LEDs can be ...


3

You're going to need to do a little experimentation to find out what works best for you, but here are a few things to consider: First, the minimum amount of light you need depends on the performance of your camera and lens. Stanley Kubrick shot parts of Barry Lyndon in candle light, but he used a f0.7 Zeiss prime which was built for NASA and customized to ...


3

I have done this with cheap camcorders and they work great! Currently, I use a Sony camcorder, and a Panasonic, and the only major difference is the brightness of the screen, which only bothers me outside in full sun. However, you are not going to be happy with footage of a presentation screen. There will be moire effects and other problems, and you are way ...


3

If you can't use green-screen (the ideal), I'd recommend a couple of things. First, use a screen with a matte surface to reduce specular reflections and present more diffuse ones. These are somewhat rarer that glossy ones. Second, angle the screen slightly top-forward, to deflect some reflections down and away from the camera. A slight parallax won't be ...


3

Is it normal to use a softbox for a back light? It can be sometimes. With two softbox lights, one can very nicely, evenly light a background show here. Note in the video that the subject is much farther than 2ft from the background. Wouldn't it leak light onto the wall behind the subject? Yes, it would, but not because it's a softbox. Softboxes only ...


3

As currently stated, the answer is, you can't. The only thing special about that video is that it is very well planned out and coordinated with lots of lighting making it almost certainly outside your budget to reproduce something similar. The video work itself is all actually fairly basic. Any camera with a decent dynamic range and sharpness could ...


3

How to produce this no-shadow effect? Some examples will explain this best. Lighting with a soft box makes the shadow soft and unobtrusive. When close to a subject, the light rays from a large light source strike the subject from many angles. The closer the light is, the softer its shadows are. Results of the lighting setup. A fill card was used to ...


3

Using 2 lights with softbox would be great for your background. The goal here is to get the background lit equally on all sides. You can use the zebra on your camera to help achieve this. Avoid shining your background lights onto your subject. That's what your key and fill are for. Make sure you keep enough distance between your subject and the background. ...


3

The first question you asked answers itself: just read the specifications of the two products and compare. The second question you asked is perhaps more interesting. LED matrix lights on cameras give to video the kind of look that flashes mounted on cameras give to photographs. They separate foreground from background due to the (typically) large falloff ...


3

There are a number of options for keeping a moving camera steady. There's the new electronically controlled gimbal mounts, they do an amazing job of removing camera movement, and they're relatively inexpensive to buy or hire. I use one of these, and it's great for DSLRs or a Blackmagic Cinema camera. There are also passive stabiliser mounts, that let the ...


3

There are a few important things to consider: Lighting is perhaps the most important aspect to creating a filmic image. A lot of filmmakers like to use natural light such as Innaritu on The Revenant. I remember from the BTS that they had maybe 2 hours a day for a week or so to film the 3 minute scene because he only wanted to use natural light. In the ...


3

The reason you get flicker in the video is that many conventional lights don't actually stay on all the time. When running on AC power, the power actually "goes off" 100-120 times a second (depending on if you have 50hz or 60hz AC). The way this oscillation impacts things differs by type of light from a slight dimming in incandescent to a color shift in ...


3

If I'm adding light to a scene that already has a light source - say I'm shooting near a window, and I'm adding a key or some fill light - I need to be able to match the colour of the existing light so that my light doesn't have a colour cast. In the olden days, we were mostly stuck with tungsten (3200ºK) for artificial lights (unless you were using ...


3

Bad lighting and/or bad camera placement are the cause. If you can't move the lights or the chalkboard, such as in many typical classrooms, the first thing you should try is moving the camera. You can think of the chalkboard surface like a mirror. In fact, if you hung a mirror flat against the chalkboard, you'd see that the position of the chalkboard "...


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