Professional Documents
Culture Documents
Lecture 1
Technology
● Image control
know why an image did work and why it did not work.
● Repeatability
if image control is done correctly, any shot should be repeatable.
● No "happy accidents".
● Body:
transports film at a set framerate.
Light gets in from lens+viewfinder so block the viewfinder!
How to check if camera is light tight:
leave camera in a room for 2 hours, then process its film.
It should be pitch-black.
● Gate, Movement, Shutter, View finder, Lens mount, Motor+Magazine
Manufacturers
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● 16mm: Arri, Aaton, Panavision, Bolex
History of formats
● 35mm in 1892
by William Dickson (Edison's assistant)
● 16m in 1923
(amateur tech)
● 8mm in the 1930s
8mm cameras take 16mm film and expose it twice
● Super 8 in 1965
Super 8 is in cartridge, has smaller perforations.
● 65/70mm
shot in 65, screened in 70.
Is IMAX but horizontal. Is Géode-OMINMAX.
● Others: 9.5 in France
Laboratory 1
Always (shooting)
Level the camera between position changes
Lock tilt when not shooting (tilt is vertical)
Unlock pan when not shooting (pan is horizontal)
Pull out tripod's 1st legs before 2nd legs
Close camera case (2 locks = I'm done ; 1 lock = in use ; no locks = I'm dumb)
Always (equipment)
Check screw sizes (smaller for DV)
Check mount size (100mm fits 150mm but not the other way around)
Check rubber feet
Check everything
Arri S
Lecture 2
Film aperture
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● Turns spherical lens's image into a rectangle
● Sphere doesn't work with art history, human psyche and rules of composition
● Never fix gate with metallic object (a scratch WILL happen)
● Check gate after EACH shot (see what's up tiger lili for hair in gate)
● Aperture can be reshaped (binoculars, keyhole, sniper...)
Movement
● Both intermittent (stop reel in front of aperture) and continuous (roll film). Double-loop based technique.
● Roller uses two elements: (1)pulldown claw engages performations, (2) registration pin holds hilm in place
during exposure
● 24 fps because it is minimum for acceptable sound quality. Any fps works
● Old silent films were not at high speed but shot at 12-18FPS. Today projectors are 24FPS, hence speedup.
Speed changes
Shutter
3
Rule of DOUBLE/HALF. Works with FPS, S.A, Exposure Time, ISO (aka ASA or EI)
Viewfinder
Laboratory 2
Camera plate
4
● Batteries last 2k ft
● Do not plug batteries while using them DANGER
● Matte box must always be ON or there will be LENS FLARE
● f stops are theory stops. t stops are measured stops.
Arri S
Lecture 3
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Ground glass
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Ways of transferring from film to TV
Motors
Lens adjustment
● Collimation
For the technician. Adjusts the focal depth of the lens.
● Calibration
Making the lens is correctly collimated, ie making sure the written depths do focus at the right spot.
Magazine
Film stock
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● Silver halide reacts to light.
● Mixing halide with gelatin binder => photo emulsion.
● Can't use glass (breaks) nor paper (burns?)
● Base is now flexible plastic. Used to be nitrate but it is too flammable and expensive.
● Nitrate is reason for small projection glass: protect audience in case of explosion.
● Emulsion(s): 1 for B/W, 6 for color.
● NEGATIVE film needs 1processing + 1printing in order to get a POSITIVE
● REVERSAL film needs 1processing in order to get a POSITIVE
Concept of STOP:
Lecture 4
Lab review
● Brightness measured in FOOTCANDLES. For a given T.STOP/ISO, you need X FOOTCANDLES to get a
normal 18% grey.
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Example: Citizen Kane wnated huge DoP and had 64 ISO so needed ~4000 FC. Today we can easily get 1000
ISO, ie we would only need 160 FC.
Other characteristics
● Graininess
subjective impression of grainy footage
● Granularity
objective measurement of grain size
● Historically, granularity had to increase graininess (blobs on a surface).
● Now they do flat grains (T-grains) which do not have shadows as they get larger (ie faster).
Lecture 5
Color temperature
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precise | Tungsten 3200°K RED/ORANGE
85 Filter reduces color temperature from 5500°K to 3200°K but removes 2/3 stop.
80A BLUE increases color temperature from 3200°K to 5500°K but removes 2 stop.
Types of film
Kodak
Color Neg. Daylight Balanced
Vision2 7201 50D
Vision2 7203 250D
Vision2 Handles wide color range
Reversal Color
Ektachrome 7285 100D
B&W Neg.
Plus X Neg 7231 64T/80D
Double X 7222 200T/250D
(No T-grains, so more grains when pushed)
B&W Reversal
Plus X Reversal 7265 80T/100D
Tri X Reversal 7266T 160T/100D
All stocks have two ASA numbers: one for Tungsten and one for Daylight.
B&W is more sensitive to blue => clearer sky. It must therefore be re-rated in daylight or everything will be
overexposed.
Lenses
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● Lenses in film = lens construct (made up of lenses) e.g. zoom lens has 15+ elements.
Mechanics of a lens
● Image magnification
● Angle of view
● Representation of space
Types of lenses
Normal lens
Telephoto
Wide-angle
● Smaller image
● Larger angle of view
● Expansion of space
● = short lens
● < 25mm (in practice < 20mm)
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Lecture 6
Film processing
- Normal
- Push (overprocess film) by 1, 2, x stop
- Pull, used mostly with reversal film
The three types of processing must be brought physically separated
Printing
Tell the lab what the time to grey card is in foot (ft).
Grey card is for color balance.
Perspective
is a different for of representation of space.
is spatial relationship between camera, subject & background
Zolly effect: push while you zoom out; or pull while you zoom in.
Controlling light
● A lens has a speed measured in stop. Focal length/diameter = largest possible opening of the lens in f.stop.
● F-Stop is theory
● T-Stop is measured (True stop or Transmission stop)
● e.g. A lens with 5.6 has 5.6 f-stops; a lens with T5.6 has 5.6 t-stops
● If what is written on the lens is different from what is written on the aperture, aperture is true.
Lecture 7
Hyperfocal distance
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smallest lens focus that focuses up to infinity. e.g. HFD = 5 feet means that with focus on 5', everything from
2.5' to infinity will be in focus.
in other words HFD is the focal distance that wil lgive me the greatest depth of field.
● Is the lense's focus on the film plane. It can be shallow, deep, shifted, etc.
● Great focal length => Great depth of focus.
Color
2ndary is YMC
they all form White
2ndary is RGB
they all form K (Black)
Filters: a filter blocks all colors except the one it is named after. e.g. a Red filter blocks Green and Blue.
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Created light
Direction
Intensity
Diffusion
Color
Categories of light
Key light
Fill light
● Reflect light
● Adds shadow detail
● Decreases contrast
● Most difficult because it must be invisible
Set/Background
Practical
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Lighting ratio
● is the proportion between key and fill light; ie the contrast of a scene
● To create illusion of continuity, lighting ratio must remain constant within a scene.
● High key = low contrast
Scrims
Go in a light to diminish its power. A green scrims is 1/2 stop; a red is a double: 1 full stop.
To remove a scrim, use a C47 retrofitted into an F15.
Using C-Stands
● Have 3 knuckles on the left and 2 on the right, so that gravity tightnes locks
● Grab both poles so you don't get hurt
● When you hear "grab a C-Stand", grab a sandbag with it.
Light
Lecture 7
Conversion filters
2/3 stop 85 orange: 5500K => 3200K
2 stop 80A blue: 3200K => 5500K
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Combined filters
85+ND.6 = 85N6
Star filters
2 parameters: number of branches and size of branches
Diopter
Is a zoom filter - creates shallow Depth of Field
- can have ar and close subjects both in focus with a divided Diopter.
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