HV20 gain

Thanks Jay (your encouragement concerning using the PHOTO button really paid off).

Yes, Filters, Filters, Filters... How did you know that was next on my list?

I have the Brevis rails and Mattebox so I'm all set to start using some ND filters. What do you suggest? Is it better to add filters or let the HV20 decrease the iris? Since I'm using a 35mm adapter I don't lose DOF when the HV20 compensates for the exposure.

Thanks!

Rob Robinson
 
after you read that article you will be stoked to get some nice filters. Solid ND and some graduated ND for landscape shots. http://www.singh-ray.com/grndgrads.html

Singh-ray makes some really nice filters, expensive but nice.

Look at the Cokin "P"system, the filters are not overly expensive and they are fantastic. You can spend a lot more on filters, but for now, why?, start here.

Read the Ken Rockwell article is is very informative. He also has great reviews on the old Nikon lenses.

In a studio they shape the picture by carefully "adding lights". Outside you can create your picture by carefully "subtracting light" & playing the angles... The trick is speed, as the perfect moment is usually fleeting.

Set the HV-20 & Brevis and use some filters to balance the exposure.

Good Luck,
Jay
 
Variation on a theme

Variation on a theme

These solutions are brilliant. I am not that creative at workarounds, but decided to by the HV20 after reading them. Thanks for saving me $2500 on an XH-A1.

I've found that covering the lens with a lighted screen (I tried my PDA with a white JPEG) forced the aperture to close too much for most indoor scenes , even well-lit ones, when I locked exposure. Then I did not have enough range in the exposure settings to get down to where I wanted. For example, forcing exposure to lock at f8 does not help when the scence is really a 1.8-2.4.

Also, I think you really want the camera to set itself relative to your scene somewhat and then adjust up/down from there. Just make sure you have an SD card installed to check f-stop or shutter as you adjust so you are relatively sure there is no gain or ND filter.

I have two ideas on a solution:

First: Since white will be about the brightest area of the scene, I've used a whiteboard (a $10 dry erase board that I also use for white balance) to lock exposure. Assuming the hypotheses in these forums regarding gain are correct, that should get you about as far from gain as possible with your scene.

If memory serves, here's the sequence:
  1. Light the scene
  2. Press Func
  3. Set Tv mode
  4. Zoom in on white board and set white balance manually
  5. Press Func to exit
  6. Set shutter to 1/48 (or whatever you want, I shoot in 24p) with joystick
  7. Focus (I often zoom in on the subject, let it auto focus and lock it there by switching to manual focus)
  8. Put your whiteboard in a brightly-lit area of the scene
  9. Zoom in on the whiteboard again
    1. Press joystick
    2. Scroll to exposure
    3. Lock exposure
  10. Remove white board
  11. Zoom out and visually adjust exposure.
Here is an example using that method from a lighting test:
color-wmp.jpg


Ok, so I should have shaved.

A different idea: I have not tried this yet, but instead of locking exposure to the white board, you could use the camera as a light meter. Like the focusing method:
  1. Zoom in on the subject (or the critical lighting area)
  2. Lock/adjust exposure there (maybe determine an acceptable exposure range).
  3. Zoom out and adjust exposure for the scene within the acceptable range.
 
gmllc....that is a very clean picture...no noise at all. What was your lighting situation like in that room (I see a lamp behind you)?
 
Thanks for the feedback.

I'm re-learning all of this in the digital world. I was a film major for a short time in college in the 80's. I actually used to splice film with tape and glue. Heh heh. I don't miss that. Lighting, FX and animation were my areas of interest. I do miss the look and cadence of film, which is why I chose the HV20. Didn't have the budget for the XH-A1.

Anyway, the ambient lighting includes 6-60watt recessed can lights in the ceiling. They don't provide much light as they are mostly aimed at the walls, but help a bit. The lamp behind me has I think a 60W bulb with 3 lower-watt candle bulbs.

I lit myself and the piano with a 3-point setup. I have the KT-900 kit from Smith Victor
http://www.smithvictor.com/products/detail.asp?prodid=435

I have the incandescent version (the others were not available when I bought it).

Anyway, looking at it from the camera's point of view, here is the setup:
  • 500W key light about 5-6 feet high and about 30 degrees to the left, shot through a white umbrella. The key is pointed about half way between my face and the piano.
  • 250W (might have been 150W) fill light about 4 feet high and about 45 degrees to the right, also shot through a white umbrella
  • 250W (also might have been 150W) on a boom to the left about 45-60 degrees from the camera with the narrow reflector aimed directly into the piano. It is just out of the shot and is far enough back to also provide some hair/shoulder lighting. That was the trick. The third light had to light the interior and my shoulders. This is the setup that I will have to contend with on location.
The only thing I don't like is how dark the wall is behind me and to the right. Given the limitation of 3 lights, I had to trade that off for a better lit interior of the piano.

The camera settings are 24P, Shutter priority (Tv) at 1/48 and either I think a 2.4 f-stop.

I hope that helps.
 
BTW, the moving footage is not very interesting...just me cycling through exposure settings, moving around to test shadows, etc. It was only a test for what I will run into on location.
 
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