Basic_Elements_of_Filmmaking_II_Handbook.pdf

7/29/2019 Basic_Elements_of_Filmmaking_II_Handbook.pdf

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Basic Eleme


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Notes on Creative Process Lynn K

Taking her inspiration fromobservations of her daily life and surroundingsKirby focuses on the exploration of quotidianevents as a foundation for a broadeunderstanding of the relationship between selfand community. Her films are short, complexmulti-layered and evocative. Lisa Gibbs.

From Time, Space and Knick Knacks,Interview with Lynn Kirby, " Lisa GibbsRelease Print, 1993.


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Bob Nelson: Where Film Ideas Come From

Ideas come from different, unexpected plwill show your lack The most reliable plaitselfYou only need one small idea to startidea. Once you have started, you can re-evaluanything better that comes along but there changing, dropping or modifying it A newcompletely unexpected ideas Follow the onturn, don't be afraid to go back or even start ovideas simple An idea is a guide to your worcan't change it or be open to changing it foappropriateSome ideas come from trying to


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Principles of Cine

Exposure is a function of two variables: the elaIntensity of the light reaching the film stock. the desired exposure is also affected by the Exstocks, this number reflecting light sensitivity is

Tim

The duration of testablished by th


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If the camera is slowed down from 24 FPS to r

1 2--- X --- = 42 1

By memorizing the shutter speeds for 24 FPS proportion rule, the other shutter speeds can b


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light intensity of one Stop. With each Stop, th2. . Depending on the direction the aperture rdoubled or cut in half with each Stop. For exa

smaller number-- say from F11 to F8-- light intthe film increases by 1 stop.

1.4 2 2.8 4 5

Conversely, light intensity is cut in-halfwhen th


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Working with Know

At a distance of 93,000,000 miles, the sun pro

earth passes. The amount of light reaching theof daywhich starts about 2 hours after sunrise


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Exposure Index. The manufacturers assigned time necessary to create a good image under was F16. If a film stock produced good results

second, the reciprocal value of "50" was assig

This relationship can be expressed at the Dayl

The proper exposure in Bright,Direct Sshutter speed is equal to the Exposure IThe reciprocal of 1/48 is 48, etc.)

In addition to avoiding exposure meter miscalcencourages one to learn to see and evaluate l


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Answer: .200 /

5. For every step that you divided the la

aperture one full Stop-- counting from F1Answer: 1 "

Close-down lens 1 stop from F16. Set Le

Example 3Lighting Condition: Bright Direct SunlightPlus-X-Reversal in Daylight : EI = 50


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5. For every step you divided the larger n

F16 one stop.Answ

Open-up lens 2 stop

When outdoor lighting is less intense than Brigconducted in the same way and then the adjusthe end:

Example 5Lighting Conditions: Overcast7362 High Contrast Positive: EI = 12


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Answer: Overcast skies provide 2 Stops

conditions., open-up lens 2 stops from p

2.8 4.0 5.6


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Exposure: Density

D

The "black," "grays," and "white" of projected Bdensities of silver particles embedded within thproduced by a film stock is called the Dmax (Dby clear film is called the Dmin. (Density Minimdark gray to light gray. In the middle of this "gThis value is defined as having an equal numbsides.


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Using ACdS and

In the Film Department we currently have threeLC128 and the Gossen Luna Pro. The first twdesign meter. The photoelectric design convermeter needle to move proportionally. The CdSmodulates this existing current.

It is the simple duty of a light meter to measuresensor. Both CdS and photoelectric designs pbright studio conditions. Under low light condit


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pointed at the surface one wishes to render asother surfaces with detail is a priority, the light m

just make sure the meter or operator does not

measured. The Sekonic light meter accepts ligimprove accuracy when reading smaller areas.

SekonicReflected

Light


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rendered within the 5 Stop exposure latitude ofvalues is often the result of uniform, harsh sundeep "over-hang" creating deep shadows. The

high reflectance extreme under BDS conditions

This is why many outdoors shots made with Pl- the reflectance intensities are much wider thathe developing cinematographer learns to creatwill be extremely competent when working withexposure latitudes in the 6 to 10 Stop range.

Under-Exposure


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Plus-X- Reversal 5

Dmax Middle GI I I I

-2.5 -2 Stops -1 Stop 0


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Dmax Middle GFace

0 +1 Stop + 2 Stops

With the window four stops lighter than thsimple adjustment could be made to increa


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Optics and Cinem

Part of the magic of film is that it simplifies visual experieto portray subtlety of tone. The heightened contrast em

impression in the psyche.

The decisions of a cinematography revolve around the with artificial light fixtures in a studio or chasing a profouawareness of the underlying principles makes the decis

Coherent Li

There are two basic formations of light energy: coheren


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Because coherent light is directional, intensity does seelight. This characteristic can be used to dramatic effectto the object or subject. The image will have a pronoundistance.

Drawbacks with coherent light should be apparent: scehigher contrast producing a wider range of light intensigrays with coherent lighting is often more difficult. Howehead-on, the image can look flat and shadowless.

Don't expect the wire scrims that come with many lightincoherent light. The harshness is more efficiently removfixture on a special mounting frame. Here's a list of somsources:


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Creative Use of Dif

Flesh tones and middle values can be rendered with m

lighting. As a rule, a wider range of range of grays is eplaced quite a bit closer to the subject to compensate f

More flexibility in lighting angles exists with diffuse lightscene, experiment with side lighting more than you migfrom behind, above or from the other side can add dep

Here is a list of some common sources which produce d


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in light intensity exists. Each stop is actually a doublingunits (electro-volts, foot candles etc.) would be 2 X 2 or

The astute Director of Cinematography would observe, from the key source to the light of the fill source in this e

face is being illuminated by both direct sunlight and sky4:1.

The effect of the lighting ratio on the film image has a stock used. The visual effect of lighting ratio is often dePlus-X Reversal, these ratios and corresponding terms

Lighting Ratio: Visually

1:1 Very Low2:1 "Normal"


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Location and Motiva

Realistic results with artificial lights on location are baseyou imitating. Is there diffuse or coherent lighting? Whexisting lighting is attractive but is simply not bright eno

decide to start from scratch and create a new impressioHere are some tips.

If the existing key light(s) are appropriate but do nowattage bulbs next to the existing fixture or replace floods. Watch-out for overheating! Next, look at thumbrella light or frost .

When starting from scratch whether on location or isituation and re recreate it Start with the key light:


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Exposure Chart for T

Test conducted S

Bell & Howell 24 FPS or 1/42


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Kodak 16mm B & W

KODAK PLUS-X Reversal Film 7265 (NEW)A medium-speed, panchromatic black-and-whitephotography. It has a high degree of sharpnesalso be used in interior photography with ample

EXPOSURE INDEXESKodak recommended reversal processiTungsten (3200K) - 80 Daylight 100


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FootcandlesRequired 16 32 64

Eastman Reversal B &W Film 7361A black and white reversal film intended for maoriginals. Suitable for making work prints and cTri X Reversal. Exposure Index numbers are nemulsion batch to emulsion batch.

RBW452 2X1200' On CoreRBW618 2X1200' On Core, A wind


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In Camera Specia

Single-FramingTwo modes are available, I and T. The I o

time the button is pushed forward. An effective exposure when the fps knob is set at 24fps. This sufficient light and minimal motion blurring is dremains open for as long as the single frame buexposures allowing for low light levels and motiocamera itselfwhile making time exposures.

StaccatoWhen the fps setting is set to the minimum of 12comes up to full speed (12fps) at a slower rate


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Multiple Exposures or Superimposition

Multiple Passes. You can make multiple exposHowell 70 DR by running the film stock through perforation film. To make a whole roll of double

underexposing each shot 1 stop. Place the takthrough the gate in the usual manner. When runthe camera held up-side down to make the 2nas the first pass. If you want to "match-up" specareful notes of the images and elapsed footagerun backwards in the second pass. If you'd rathreversed motion, take the film to MIT B-42A andcomplete darkness. See chart below for calculathe variable shutter in the 1 position is sometim


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Tips about Composite Images If both or all of the shots to be combined ha

lighted objects will not over-la, little or no ex

Superimpositions often look more interesting

one image rather than discernable layers. of the exposures to dominate in different arefor the whole frame. Including black or daencourage this to happen even if you dont

Use a tripod or make very slow camera movimages tend to make the images seem sepabeing used becomes obvious. Repetitious m

Pinhole Lenses Those familiar with still ph


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Adapting a bellows for close-up workNo extension tubes? Any way of supporting thecinematography. If you work in a darkened roo

computed as usual. Best to run tests and open


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Soundtrack

Stages and T

Just as one determines locations, subjects, camera

creating interesting images, one must learn to recogmaking an interesting soundtrack. In bringing your semester, there are six stages of sound production.

Good soundtracks have intriguing qqualities which akey characteristics are:

Rhythms performed or created from aexpectation .


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In urban locations some typical ones are: traffic,hums, HVAC duct rumbling, appliance and lightconstruction in the distance. As you walk arounsoundsthose with percussive qualities like tapcan also thump or wiggle or vibrate materials to

To create sense of depth or space in a monauraEach of these is recorded separately in the field

A. Foreground Sounds: Louder sounds

B. Background Sounds: Soft sounds th

C. Middle-Ground sounds: Soft to med

Recording Background Sounds. Background


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Recording Foreground Sounds. You can tell wh

potential because it has a variety of tones and rare. The most common foreground soundtrack deep tones and high pitched consonants. It is cdelivery and rhythm. Some musical instruments foreground sources striking, rubbing and jigglingacross in the field. Dominant Qualities: Variationvariation as well. For Foreground Sounds, set reno further than 5 to 3dB.

Foregroun


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Recording Middle-Ground Sounds. If you go on a good variety of them, chances arethe majorityThey are more like classic sound effects in thaduration, In some cases they are perceived as a whining light fixturebut these extended passevents. Dominant Qualities: High in tone and shSounds, set record level on the VU meter so thpeak light blinks steadily, turn the record level

Middle-Gro

Microphone Rode NT-3; PolarPattern: Unidirectional; NoiseLow; Sensitivity: High.,

Applicabil ity

Rode NT 3 Same micing as foreg


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More Field Recording Suggestions

When recording a location or a background, mo

sounds like motors, hums and traffic dominate. are higher in pitch and percussive if available. Tbe adequately recorded even from a distance.

When a sound source dominates a location, spebe able to obtain high pitched sounds and textu

. Locations change in character over time; make

least 15 minutes in each mic position and recordrecordings of 30 minutes or an hour are often v


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Sound G


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Recording with the Hi-MD Re


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Perform these steps with No Disc in the


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8. Look at the Menu window. The RecoSP. If the window shows HiMD or L6.

9. Install a fresh, alkaline, 9 volt batte


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H d h OUT


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15. To start recording, press again on ready to stop recording, press on thstop the recorder with the STOP bu

break because this will take the decmode. Note that the recorder jumpnew recording is started. RecordingsGroup includes all the tracks madeSTOP will cause a new group to brecording is made on the disc.

16. To raise the headphone volume, pENTER button and on the lower edg


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Key Sound Terms

Loudn

With many sounds arriving at the ears at once, a to

of loudness. Typically one or two sounds seem loudmany seem to arrive from much greater distance. Tfrom many distances but the brain attends to only o

The quality of loudness plays such an important rotend to create confusion. To create a sense of deptcontrol, of the relative volume or the loudness of easoundtrack emerges from only one spot in space wvolume to represent space.


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living room seems much quieter than 60dB of hubbeven the quiet living room is 50 times louder tha

The high background sound levels of urban environrecord sounds. Its common to hear students complshoot. Was the recordist conditioned to the backgro

demonstration of relative volumes shows why bad s

A person speaking in a conversational tone at a diIf the room has a background level of 40dB, this is is set-up at a distance of one foot from the person, backgroundsufficient separation to be used in posrelative sound level of the voice drops to 58dBandbackground sound in the recording. 30dB separatithe sound editor to add background sounds of their


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Hertz , the person who refined the study of sound vto describe the phenomenon of certain rates being

As vibrations actually cause the air molecules to cosound is constantly changing direction or polarity. Treflected in another term used to describe pitch, cycform ofCPS.)

Through testing, it can also be determined that humfrequencies from 20 cycles per second (or Hz) to 2pitches occurring at once, the lowest frequency of afundamental frequency is usually the loudest frequefrequencies of common sound sources is one way tfrequencies within the range of discernible to humaSpectrum.


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Bass Drum

TimeTime

Decay


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Julie Dash intersperses background music, location sounds,The location sounds occur in the sections with thin lines.


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a second, the fundamental frequency is 40 X 5 or ahigher pitched tone is vibrating about 18 cycles or alow frequency but very pitched, "thump."

Less musical or "concrete" sounds like speech, clicloudness characteristics. The appearance of these

reveal a wider rang of frequencies. Here's a wavef

SlowAttack


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Cassette Tape to 16mm

Make this a

Mag Recorde

1. Check these buttons/switches:

16mm Mag Film Recorder

Magnasync Record Amplifier Power Switc


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5. Play the foreground sound on the cassette tso that -3/-5 dB peaks occur on the Mag Filmfor a comfortable listening level. Leave the mthe tape with the foreground materials you w

Foreground Peaks to 5

6. Cue up the section you wish to transfer and adjust record level for 5 to 3dB peaks with listen for tonal imbalances that could be lesseproblems to listen for and suggestions correct

S d P bl


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masking tape along the bottom of the row of wend, write down the status of every knob in a

-9 -9 -6 -5 -4 -2 -1 0 0 0 0

Attach the tape record to wax p

8. After setting equalization, re-adjust the red "L-3 dB peaks on the 16mm Mag Film Recordeleave the setting where it is and go to step #

9. If the playback volume of the foreground matplayback, its best to even these out by adjus

Here are some common situations & suggest

The signal level slowly drops or slowly


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16. A big time saver when you are sound editingtransferred segments on separate cores (2" othrough a whole roll of material whenever yoroll an extra 5 seconds after each take. Use s

take-up reel. Remove the take-up split reel aend of the transferred piece with white tape aremember that these cores are tails out.

17. Turn -off the Take-Up motors of the Mag Reswitching the "A Wind" knob off.

Background Sound Reco

Transferring background material is the s


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SoundSource

Problem

Urban DayExterior

Dominant drone-like low tonethat is too loud

Urban Park

Presence

Leaves blowing in wind

creates a high pitched sizzlethat is too energetic.

Urban DayExterior

Rumble of City is toopronounced, gives therecording too much driveand energy.

LakefrontWaves

Roar is too loud. Cant seemto get it to sound like alocation


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27. Press the "Ready" and "Record" buttons on

28. Place the cassette with the middle-ground s

29. Return all of the white equalizer knobs on th

30. Play the background sound and adjust recor

knob on the Tapco 2300 equalizer. Middleat -10 dB, maximum. For very sharp effects

Middle-GrounPeaks to

31 M k dj t t i li ti


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34. Start the Mag Recorder rolling by placing theRecorder run until you have plenty of mater

35. Turn -off the take-up motors of the Mag Recswitching the "A Wind" knob OFF.


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Transferring Edited 16m

The Picture Roll and all Three Ma


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7. Connect the FireWire (FW) drive to a FireWirethat one side of FW connectors is slightly curside when you insert a cable. Forcing it in ba

Curved side of theFireWire Connector


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Creating and Organizing


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Selecting File C

13. The doc you just named, YrLastName_MagLOGIC, double click on it to launch LOGIC.

14. If you are going to be mixing in B-65 or workiPreferences, in the window that opens up, sesays, Recording File Type.


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select, o. Make sure the input levels on all oslider to 0.0, hold down on the Option key a

Drag Mixer Ch 2 PanButton clockwise (fullyright) to setting of +63

Drag Mixer Ch 1 Pan


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If No Audio C

A) Make sure the patch cables connected correctMonitor Speaker is on and volume turned up. that has no audio.

B) If still no sound, make sure the amplifier for thReproduce buttons are pressed in, and the R

C) If still no sound Check the four RCA cables b


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25. After you have established a record level sett

comfortable listening level. Rewind Mag 1 at Transfer, its best to place LOGIC into record

26. Make sure the current position indicator is neROUND icon button on the transport bar to the Transport window from Windows if nece

Clicking on thebutton with the


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32. Play through Mag 2 adjusting the Decks Repmoment goes to the top of the scale WITHOU

33. Rewind Mag #2 at least 3 feet before the EDLOGIC into Record Mode. Play MagTrack#2 modulate. Stop and select under File->Save.


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Saving Your Tra

Automatically createdfolder with copy ofsession doc.


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Hold down on theOPTION key and clickeach of the Pan knobssending the outputsfrom each track toCenter.


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4. Use the Enlargement Button to zoom into the


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6. With a little practice, you can line-up all three, o

accurately.


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Logic Audio Basi

This tutorial assumes you have transferred 3 mon

foreground, middle-ground and background sounBEII class in MIT B-65 with the sound cart.

Make this

DAW RightLeft Ta


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5. Carefully connect the FireWire (FW) drive to acurved side when you insert a cable.

Curved side of theFireWire Connector


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ASIO Delta Audio hile


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14 L k t ll f th I t h l d th t


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Setting Mix R

16. Now that sound is passing through, take a lo

right of the Mixer Window.

Over-ModulationLight

Indicator Box


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Automating Trac

Volume Automation Shortcuts

Turn On Hyper DrawVolume

Click one region or lass

Create a Breakpoint Click in region drag uScale is 0-128

Fine Adjust Volume Click on Breakpoint + O

Delete a Breakpoint Option-Click on the B

Lockout Horizontal Control + Option or Co


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26. Click S in Track 3 Mixer to place the Backgrarea under the spot where the loop begins toup and down until the playback volume for threlation to the foreground sound. ( Try turningraising it until its barely audible. Its common floud and flatten the space)


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28. To keep these settings for the whole passageeach track and drag to match the setting at t

111 111


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The Next step is to adjust the relative volume for

30. Zoom-in at the start of the loudest passage iloop play:


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Or possibly with a little softer middle so the rimore dramatic:


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Of course, the backgrounds and middle groupassages as well.

33. Another common need is to lower the volumefade times.


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Automating the Volum

The beep tones at the 2 of the Academy leader

synchronize the copy of the Mix on Mag film withautomated into the mix as well.


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39. Click once on the Bounce button by the Ma


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Transferring Your Digit

Make this

DAW RightLeft


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For Mac compatibility:

Mac systems need to be set to output.AIFForS

Transporting Mac Generated Media to UWM:It is recommended that you make a copy on bothFailing this, burn the audio to an AUDIO CD. Dofile onto a Zip Disk from your Mac at home that thand bring the disk to B-65 to see if it works. If it dsee if it will mount on your Mac.


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ASIO Delta Audio hile


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15. In solo mode with output levels set to unity (0should go to 3 dB at the loudest moment in record knob on the MAG Deck below 4.5 untithe Mag Deck VU meter fall short of 3dB, tuRecord Level knob above 8, your digital mix s

Track 4 slider in Logic about to see if you carecord level knob closer to 4.5. After setting tmake the VU meter extend to 3dB, you are

Designing In


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g g

Note: The following suggestions apply to the pvoice will not be included in the final edit.

1. Your Angle. This step is based on the maialready stated for yourself in writing. To devecuriosity, etc. in one descriptive statement that

sentence to someone who asks what you're dopeople think about when they walk through a ngrew up in." It should account for who is involvabout. An angle should take into consideratiosituation into consideration and go beyond thetakes much higher risks when walking in certai

2. Opening Questions. Until the interviewee


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Glossary of I& Other Us

Acceleration When an object or camera movemeslowing down. In film editing, cuts acceleration taking advantage of th

to flow across the cut.

Amplifier The electronic device that controlssystem during audio playback.

Amplitude A term for loudness or volume in erelatively loud; a audio signal with


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Low Angle Achieved when the lesubject. Lends a shot a sense of mdifference in height.

Camera MovementDolly Movement of the camera tow"dolly out")

Pan Pivotal, horizontal movement

Tilt Pivotal, vertical movement of t

Track Movement of the camera alsubject. (I.e. "track left," "track right


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Decibel A unit used in measuring the relat

Diagetic (On-Screen) Sound Sound elements thapersons, etc. These sound elemethey still called diagetic even when

Dialogue Conversational speech as recorde

Digital Audio A newer audio system in which repsignal voltage conditions at very bresults to a numerical value. Digitelaborate playback systems for the


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audibility within the volumes of the inaudibility within the existing volum

Fade In image production, a very commothe impression of a scene emergingof a shot or scene falling into darknand endings of sequences in a pro

Figure & Ground The distinction between perceptfigure is generally observed as lyingelementary representation of depthfigure plane is often considered to to be "negative space(s)" as there figure and the ground.


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Grain The visual texture of the projected absorbing particles of the filmstock.the number of times the image hastexture but its referred to as "noise

Hand-held Camera The act of holding and movingfilming or videotaping can create a of psychological implications. As acircularity, slight shaking and hoverinvolvement in the act of filming.

Hertz (Hz) A unit of measure of frequency. S

Highlight Details In black & white film, those partslightest areas


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Mixing The process of combining several re-recording. The "space" of the different volume levels for the elem

Montage The juxtaposition of two or more imagecreate a larger, more intense whole

Multi-Track Recording Systems Those which utielements on different tracks or chaor music space. These systems aand media productions.

Narration From the Latin word, "to tell," a clodirecting the attention of the viewerThe voice of a narrator can be incl


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Post-Production The phase of mascripting, editing, sound-cutting and

Program A representation with a fixed, timed

Recorder A device responsible for creating i

Resonance A phenomenon of one object being vanother object. For this to happesimilar.

Reverberation The audible effect of a sound refleecho-like quality to the sound. Rephysical surroundings but can alsorange frequencies are over-empha


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Background [far]). Often a third pelements of medium volume (Middby recording the sound element(s)controlling their relative volumes aproduction.

Stereophonic Sound A two channel, two loudspe

increased illusion of depth in sounelement positioning.

Superimposition A ghost-like special effect wherethe screen at the same time. Achadding another exposure on top opossible with correct exposure adj


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SEK


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Features.................................................................Specifications.........................................................

Part Designations..................................................

Accessories...........................................................

Basic Operation of Meter Unit ..............................


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Nearly all photographic subjects combine c

surfaces (high reflectivity) and weakly refle

variations delicately influence exposure determin

set becomes a vital factor that considerably


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PART DESIGNATIONSFror


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Lumisphere


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1. Stopper Button Operation

If the stopper button is press-

ed when the sto er button mark

is set to the meter needle


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Incident Light Measurement

1. Lumisphere

a. Mount Lumisphere

needle deflects according


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to brightness. When the stopper button is

released, the meter needle becomes fixed

at the deflected position. If the location is

excessively bright and the meter needledeflects beyond scale, insert the High

slide

g. At this time, the shutter speed scale

bi ti b th t


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combination becomes the correct ex osure.

Example: With High slide inserted, meter indicates

exposure becomes 1, 250 sec at F 5.6, 1; 30 sec at

changing ISO setting, the set combination of shutte

automatically altered to the appropriate one corresp

2 L idi


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2. Lumidisc. Employ for illumination contrast

Adjustment and luminance measurement.

Contrast measurement

a. Mount Lumidisc

sensor Install in the same

manner as Lumisphere.

b. Hold meter at sub ect osition

Luminance (Lux) measurement


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a. Mount Lumidisc

Lumisphere.

to light sensor

b. Place Lumidisc parallel wi

c. Press stopper buttonindication

d. Multiply this value by 10.76 to obta

Example: 80 x 10.76 = 860.8 lux

If meter deflects beyond scale insert Hi

e. Press stopper button

read meter scale footcandle

and


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read meter scale footcandle

indication

footcandles are units of incident light

only, this value becomes simply a

reference.f. Transfer indicated value to dial

. However, since

scale

and set

At thi ti h tt d

Rotate the dial ring

mark

a. Read meter needlecandle indication

foot-


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b. Transfer this number to the

dial scale

and set

Rotate dial ring

scale mark

If the High slide is inserted, setthe mark

c. EV value indicated by EV

mark becomes the correct

3 U i E M lti li ( 2 1 +1 +2


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3. Using Exposure Multipliers (-2, -1, +1, +2Exposure multiplier indications are provided at bo

marks of the dial scale. Use the -1 or

ing to cut the exposure to 1!2 of 1!4 and +1 or +Set the appropriate mark, instead of the or, to the


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MEASUREMENT EXAMPLES WITH VA

1 Portrait Photograph


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1. Portrait Photography

There are various kinds of human subject pho

skier against a snowy mountain background,

picture detail and for the purpose of deter

considered portrait photography. In the final a

the human subject is in the center of the pictu

In addition, camera to subject distance mus

2. Typical Scenery

In the case of scenery, measure by using the L


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section on Incident Light Measurement). Alth

holding method is adequate, if lighting condit

dissimilar, move the meter to a position where co

subject and point in a direction parallel to thshadowed, either move the measuring position t

the same conditions with the hand or other m

considered as general middle distance scenery,

same manner as described in the section on Portrait


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4. Snow Scenes

a. Many cases of problems occur with reflec


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y p

surface glare. Using incident light measu

fallen snow possesses a reflectivity of ap

days in urban areas, this declines only to

be performed. Measurement by standard m

is reduced by

Example:

0Note 3:

In situations with direct or top lighting


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(sun near zenith), the Lumisphere will

detect reflected light from the snow

surface. Some means of blocking the

light from below becomes required in thiscase.

In typical cases of back and side lighting, subject facing the camera becomes dark, a

though standard measurement with the


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though standard measurement with the

darker portions, on occasion, the brighter

difficult to see. In some instances, this effe

special photographic composition, but

perform as follows. First use the Lumisphthen determine exposure from the mea

Observatorial Scenes).

APPLICATIONS SUMMAR


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1. Special Features of the Studio DAs the Studio Deluxe ll is a high precision

capabilities, its special functions can be displa

applications. Incident light measurement is

photographic situations and is often empl

cinematographers. Since proper exposure can

are easily incurred with reflected light measu

2. Illumination Contrast

Light balance measurements are the most


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Light balance measurements are the most

consists of measuring the ratio of main lig

adjustments when photographing an illuminat

record the data obtained for his particular eq

the future and allow the same lighting conditions

When shooting in a studio or similar situatio

more attractive results can be produced by m

1. Also when using reflectors either indoors


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Shown here is an example of using

Lumisphere and by normal measuring


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p y g

method without slide, meter needle

indicates 640 footcandles. With film

sensitivity of ISO 100, exposure

becomes f 45and shutter speed 1 second. mark at

this time indicates 20.

b. Hold meter about 15cm from the subjec

subject and read the footcandle scale value.

T d t i th l i it i


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c. To determine the luminance range, it i

indication by the lowest. For example, if th

luminance range becomes 80/5 = 16/1 or 16 :

The Studio Deluxe indicates normal colorphotograph luminance range limits

corresponding to 2 f stops left and right


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corresponding to 2 f stops left and right

of the luminance range center point.

examples to provide full control over movie scenes

these to still photos.


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Stage 1

Determine overall lighting strength.

a. Set meter to ISO 100 (see film

sensitivity intermediate values).

b. Set 24 red line of cine speed

Adjust luminance range

a. Install Lumisphere.

b Hold meter at subject position point Lum


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b. Hold meter at subject position, point Lum

indication. With all lights turned on, adjust

footcandles.

c. Set

value becomes 16 to indicate luminance

required results can be obtained with a l

luminance indication of 64 (center point 1

mark to 500 and read


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Compensation factor = (M + 1)2

Compression


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Compression Subject to Compensation image ratio factor

20 : 1 1.10 19 : 1 1.11

18 : 1 1.11 17 : 1 1.12 16 : 1 1.13 15 : 1 1.14 14 : 1 1.15

HANDLING CAUTIONS


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HANDLING CAUTIONSSince the Studio Deluxe ll is a high p

care in regard to the following poin

Avoid dropping or subjecting it to strong shDo not store in high temperature or high h

Do not store in areas subject to magnetic f

(metal cabinets, clothing dressers, etc.).

TECHNICAL DATA /BLACK-AND-WHITE R

KODAK PLUS-X Reve


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KODAK PLUS X Reve

KODAK PLUS-X Reversal Film 7265 (16 mm) is a

medium-speed, panchromatic black-and-white film suitablefor general exterior photography. It has a high degree of

sharpness, good contrast, and tonal gradation. It can also be

used in interior photography with ample artificial

illumination.

EXPOSURE TABLE - TUNGSTEN LIGHTThis table is based on EI-80 (tungsten) and reversal

processing with a shutter speed of approximately1/50

second, 24 frames per second (fps), and 180-degree shutter


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second, 24 frames per second (fps), and 180 degree shutter

opening:

1 At 18 frames per second, use 3/4 of the footcandles (fc) shown. Whenthe film is used as a negative material, the values specified should bedoubled.

Lighting Contrast -The recommended ratio of key-light-plus-fill-light to fill

li ht i 2 1 3 1 H 4 1 t h

Lens Aperture f/1.4 f/2 f/2.8 f/4 f/5.6 f/8

FootcandlesRequired1

32 64 125 250 500 1000

NEGATIVE PROCESSINGAlthough designed for reversal processing, this film is

capable of yielding useful negative images or conventional

quality and contrast if developed in a developer such as


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quality and contrast if developed in a developer such as

KODAK Developer D-96 and them fixed. When a developer

of this type is used, the speed is not more than 1-12 to 1-23

that is normally obtained in reversal processing (using

KODAK B&W Reversal First Developer and Replenisher

(D-94A)).

If negatives are required, it is preferable to use films

designed for that purpose.

IDENTIFICATION

After processing, the product code numbers 7265, emulsion

CURVESCharacteristic Curve

3 0


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Process: Recommended Reversalprocess at 76 F (24.4 C)

Sensitometry: Diffuse visual

1.0

2.0

3.0

DENSITY

Exposure: Daylight 1/50 sec

MORE INFORMATIONOutside the United States and Canada, please contact your Kodak

You can also visit our web site at www.kodak.com/go/motionf

You may want to bookmark our location so you can find us easily


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y y y

Films Cinematographers Field GuideKODAK Publication No. H-2

Image Structure KODAK Motion Picture FilmKODAK Publication No. H-1

Specification Numbers Cinematographers Field GuideKODAK Publication No. H-2

Storage KODAK Motion Picture FilmKODAK Publication No. H-1

The Book of Film Care

TECHNICAL DATA /BLACK-AND-WHITE R

KODAK TRI-X Revers


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KODAK TRI X Revers

We are committed to black & white filmimprovements to

our family of reversal films prove it. New KODAK TRI-X

Reversal Film 7266 offers finer grain and increased

sharpness, and includes EASTMAN KEYKODE Numbers

for easy cross-reference of shots in minutes, not hours.

Reduced static support allows for a cleaner image

throughout the filmmaking process. And because our new

films do not require processing in a bleach containing heavy

EXPOSURE INDEXESTungsten (3200K) - 160 Daylight - 2001

Use these indexes with incident- or reflected-light

exposure meters and cameras marked for ISO or ASA speeds


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exposure meters and cameras marked for ISO or ASA speeds

or exposure indexes. These indexes apply for meter readings

of average subjects made from the camera position or for

readings made from a gray card of 18-percent reflectance

held close to and in front of the subject. For unusually light-

or dark-colored subjects, decrease or increase the exposure

indicated by the meter accordingly.

EXPOSURE TABLE - TUNGSTEN LIGHT

At 24 frames per second (fps), 170-degree shutter opening:


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MORE INFORMATIONOutside the United States and Canada, please contact your Kod

You can also visit our web site at www.kodak.com/go/moti

You may want to bookmark our location so you can find us eas


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Films Cinematographers Field GuideKODAK Publication No. H-2

Image Structure KODAK Motion Picture FilmKODAK Publication No. H-1

Specification Numbers Cinematographers Field GuideKODAK Publication No. H-2

Storage KODAK Motion Picture FilmKODAK Publication No. H-1

The Book of Film Care


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