|
|
Posted by William Davis on 01/14/06 17:32
"William Davis" <davisbill@mac.com> wrote in message
news:davisbill-469360.00141914012006@news.west.cox.net...
>
> Turned out the big projector was overkill. I had to light the heck out
> of the foreground talent to balance the images.
-Intersting Bill. Was there anyway to limit that output? I noticed you
-mentioned ND below for the other projector
Most modern projectors have pretty rudimentary brightness controls IMO
- typically plus and minus a small percentage - and some of them have
normal and bright modes. In the half dozen or so models I've used in
the studio, none of them had anything like real dimming capabilities -
plus, of course, dimming of any practical kind would likely shift the
color balance.
So yeah, I cut small squares of ND in _ stop, full stop and 2 stop stock
and could instantly pick up and gaff tape them to a Grip Head arm on a
C-stand so they could be lowered into the projector beam in a second.
Helped control the projector intensity really well and is instant and
cheap.
>
> Moved to a setup where we stacked a couple of lower output projectors
> 1000 - 1500 ANSI and registered them into a single image. Then, if we
> had a very dark scene that needed more punch we could use both
> projectors and if there was a very bright scene, we could kill one.
-Not a bad idea.. did you have to tweak the alignment of the 2nd
projector?
Not really. We used a buddy's slide projector stack array that he'd used
for slide dissolve shows back in the day But you could just rig a
simple shelf or anything to stack the projectors in vertical alignment
then use the regular projector screen controls to register the images.
It doesn't have to be terribly precise in order to get a registration
that's good for a music video background. PLUS if the projectors get a
little out of alignment there's a 50/50 chance the director will see it
and scream Hey, cool effect! - move them MORE out of registration! it's
a music video after all. :)
>
> We also kept a lot of 1 and 2 stop ND film around to slap in front of
> the projector lenses if I needed a quick fix to dim the background
> image. (the projectors sometimes have rudimentary brightness controls
> but they take time and menu shuffling to use and having a bunch of
> pre-cut 4x4 ND squares you can slap in front of the projector lens is
> WAY easier.)
>
> I also found that the GRAY RP screen material we got from Rose Brand
> gave a much more natural video image than their WHITE for what it's
> worth.
Good info.
>
> In all of this the RP looked very dull to the naked eye, but read as
> much, much brighter on video. As always, no substitute for a well-setup
> monitor on set and someone with experienced eyes!
>
> As to projecting Greenscreen, my untested concern is that a rear
> projection setup would be essentially shooting a lot of green light at
> your talent from behind and and I wonder if that would cause
> substantially MORE spill problems than shooting white light at a matt
> surface as in done in traditional green screen.
My thought also. I'd like to try it with some control over the screen
type
and light. We used to work with 90Ft internally lit blue screens and it
was
a trick to balance the screen with the scene. I remember being sick to my
stomach if I didn't wear those amber glasses. :)
>
> You might need MORE opposite color wheel light rimlight for the talent
> to counteract the green spill. Or it might work great. Be an interesting
> experiment.
>
> Let us know how it comes out.
Excellent , valuable information Bill. Thank you for posting. I will
forward
this to the crew.
nap.
Navigation:
[Reply to this message]
|