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  1. #5941  
    Senior Member
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    Jan 2015
    Quote Originally Posted by Michael Hastings View Post
    I'll let David chime in on the cost for film - but it would seem that the cost per minute for Digital is near zero since the media is reusable and the only true sunk cost per minute would be the cost of electricity to charge the battery (pennies). That further complicates the issue with digital since you can shoot more and longer takes without additional media costs.
    Agree with what's been said, but I'll note that with digital, you pay for storage and transfer costs (hard drives, laptop), and potentially the hire of a DIT. On a film shoot, you often have a clapper loader (2nd AC/film loader). Furthermore, you tend to shoot more in digital than on film. This stuff matters on low budget shoots more than on big, as Michael points out.

    I myself haven't seen an "all-in" number per minute for film vs. digital. This is partially because there are a lot choices you make in post that influence it, such as quality of scan and who does it for you.
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  2. #5942  
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    Join Date
    Feb 2012
    Here is where I show my ignorance and lack of knowledge.

    Recently, when testing out some improvised internal filters on an Ursa Mini 4.6K there was some very noticeable masking flare from the 35mm f1.4 Nikon lens originating from outside of the actual image area the sensor sees.

    The Nikons are full-frame stills lenses so see things the camera sensor does not see directly. Because there was moving dappled shade involved, the flare was very apparent as it came and went.

    A DoP friend mentioned what was a commonplace technique of custom matte frames for individual prime lenses. To be honest, the idea never entered my head but I now recall seeing one in a behind-the-scenes promotional documentary about a major feature film. Except for the widest field-of-view, they would be little use with zoom lenses.

    I have forgotten the exact name for these things. I thought I would try the idea and have cut and tested pieces of Weetie packet cardboard which I will use as templates for cutting more permanent material.

    So far, even though they are outside of the image area seen by the 4.6K sensor, the histogram does change when a matte frame is in place so something is going on, hopefully for the better.
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  3. #5943  
    Hi David, I'm wondering the effect of a grid/eggcrate on larger frames... do you find they work well in place of flags when controlling spill/spread? I've also always wondered what the spread/angle of something like 1/2 grid through a frame is?
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  4. #5944  
    Thanks for the replies everyone. So it sounds like approximately $100 per minute for 35mm. I was honestly expecting it to be higher. I assume that includes scanning etc?
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  5. #5945  
    Senior Member Jacques Mersereau's Avatar
    Join Date
    May 2011
    Happy Summer 2021 Solstice!

    I am interested in replacing a variety of tungsten lighting instruments here at the University of Michigan Video Studio with LED equivalents.
    Our studio does a variety of work, yet much of it entails staging original musical performances for the camera.
    Controlling light is very important to keep it off our large upstage projection screen.

    NOTE: Most of our fresnels and par cans we use for color washes, so color changing LEDs are what we are looking for.

    Here is a list of aging tungsten instruments we currently have - what might you suggest?

    Lowel Rifa 88 (1000W soft box)

    Desisti 2K Fresnel

    Desisti 1K Fresnel

    Par 64

    Source 4 750w Ellipsoidal

    Kino Flo 4x4 bank

    Our current lights have done yeoman's service for 20 years!
    With the cost increase of LEDs, one thing we want are instruments built to last and to be serviced if needed.

    Thanks in advance!
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