DVL-Digest 1113 - Postings: Index An unsteady hand Shoot in B&W? An unsteady hand - "Perry Mitchell" From: John Ta Have you ever carried a big watermelon or a big screen TV or a couch up a flight of steps? Does it bounce? No, of course not. Thats the whole thing about steadicam if you've ever seen one. Just a bunch of weights, like shock absorbers... John Ta. on 1/26/02 10:48 AM, Rik Albury at Rik.Albury@dalsemi.com wrote: John Ta said, in part: Get weights, tie them to a tripod head. Would you please elaborate? What do you do then? What do you hold on to? How does this work? Thanks much, -Rik. ------=_NextPart_000_0004_01C1A6FF.40F5B3C0 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable ------=_NextPart_000_0004_01C1A6FF.40F5B3C0-- Shoot in B&W? - "Perry Mitchell" You didn't think you were going to get away without my two penn'orth did you! We accept now that color shooting is the norm, and that leads to a natural conclusion that B&W is simply the luminance part of natural color. Well it can be but it doesn't have to be! Before color, B&W film was originally sensitive to only part of the visible spectrum, and only later became 'Panchromatic' or sensitive to the whole range. Cinematographers became adept at using colored filters with B&W film to improve the perceived image. An orange filter for instance would give increased sky/cloud contrast. All sorts of exotic mixtures of filters and make-up could give the desired look for actors' faces. A reverse version of this is the false color given to infra-red and space photography, with a purely arbitrary allocation of colors to the (non-visible) spectrum. Using a color video camera automatically allocates IR and UV to the Red and Blue channels respectively so that the 'splitter block' has to have IR and UV blocking filters to avoid false color. In fact CCD sensors are very sensitive to IR but not to UV, but earlier tube cameras had the reverse sensitivity and needed the UV block to avoid 'purple' skies. This is because the camera color matrix simulates violet by adding some blue output to the red channel, and this level would become excessive with significant UV content as found for instance at high altitudes. I once met a nature videographer who wanted to shoot moths under UV lamps, since apparently their eyes are sensitive to this spectrum and the moths have vivid patterns when seen in UV. We discovered that the old Sony one tube color camera, the BVP-110 was sensitive to UV and it served him splendidly. I still have one up in my loft somewhere if any Entomologists out there want to give it a go! Anyways, back to the point; if you want to shoot a B&W movie with a color camera then you probably need to have a good B&W monitor on set connected to the camera luminance content. However, subsequent processing in post from the full color signal could lead to all sorts of possible enhancements. Since we have probably decided that killing the color on a DV camera has no benefits, then you might as well record the full monty! Let art commence! Perry Mitchell (diese posts stammen von der DV-L Mailingliste - THX to Adam Wilt and Perry Mitchell :-) [up] |
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