Web Series, shot on AF100

I think it's funny and looks great! I think you crossed the line a couple of times, though (axis, that is. Not "going too far" crossing the line...).

I didn't really get the "Hey Lee. Grr..." at first because it seems like it's mid-rack and my eye was on the FG, but then I got it the second time.

So this is what the night stairs scene was for- looks nice man, love the last shot where she turns her head to her right, giving a nice chiaroscuro effect!

How many episodes do you plan to do?
 
yep... crossed it a few times. We did our best in some pretty small locations that made for some challenged setups. No excuse ;) Yeah, those night shots are among my favorites. It's been really fun. They're really a good bunch.

thanks for taking the time to check it out and thanks for the comments. We'll have 4 more episodes coming out every 2 weeks.
 
Looks great, vry nice job. Can you share more productions details. I'd be interested to hear about your camera settings, recording format and if your lighting design played apart in keeping the image within the limits of the camera.
 
Here are the camera settings.

Gamma: HDNorm - I chose this because it's so clean, in my opinion.
Matrix: Norm 2
Skn DTL - off
Master Ped - 3
Chroma Level - 3
Coring 0
Detail Level - 4
V Detail Level - 2
Rec Format PH1080/24P

I made a lot of use of the kinos in lighting. What I liked so much was the ability to throw in the daylight bulbs in mixed light conditions as in the restaruant. They also fell off very nicely. I would bring them in close to get the largest source I could and they provided a beautiful modeling. I used hard tungsten light for the night exterior stuff and made sure to white balance on every setup. As to your question about "keeping within the limits of the camera" I'm guessing you mean exposure. It's the same as any I expect. I would expose skin no higher than 60 IRE on the WFM. I check the WFM every shot, as much as focus. I have some outdoor stuff in the next episode wit some sunlight that became a challenge balancing exposure.

With any tungsten light mixed in (behind the landlord in the hallway or the tungsten sconces on the cafe, I had to do some secondary color correction to knock the orange down a little.

The kinos really are great. I have two divas and the ability to just dial in with the dimmer is huge. I have in mind one of those Tegras because I like the Divas so much. In the few shots in which I switched out to tungsten on them, I had to pull back the orange in post. That could be because I like that sort of "Sony" skin tone or could be because of some skew in the tungsten flos. I'd use whatever I could, whenever I could for kickers or hair light including a little inbetweenie or a 300 and in the restaurant I actually CTB''d the little incandescent lights and used those.

Lens wise, the 25mm Voightlander is indispensible on this camera. Whenever I could use it for wides or two shots I would. Loved the Zeiss's for clarity and beauty but it was hard on occasion to pull back enough to use them. Only on CUs. Wide wide I switched between the SLR Magic 12 and the Oly 11-22... I wound up with the Oly more. As much as I liked that SLR in testing it didn't really work that well in production.. The Oly was sharper. I may swap them both out for a Tokina 11-16 pretty soon. Wide and sharp is a challenge except with that darn Voightlander. That's as sharp as possiible.

Thanks for asking, and thanks for watching
 
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