Term
What do we program our Color Temperature meter with if we
need to use it for balancing purposes? |
|
Definition
| DAYLIGHT OR TUNGSTEN FILM |
|
|
Term
| What are its 2 modes when we do this? |
|
Definition
|
|
Term
|
Definition
| LIGHT BALANCE, COLOR CORRECTION |
|
|
Term
What are our 2 strategies to prevent overexposure in
HDV? |
|
Definition
(One deals with our choice of lights, one deals with
our choice of iris setting). |
|
|
Term
| How do we soften our HDV image during close-ups? |
|
Definition
DIFFUSION AS CLOSE TO TALENT
DIFFUSION/FILTER ON CAM
IN CAMERA SETTINGS |
|
|
Term
What filter did we use in this class to soften the face but
hopefully leave some sparkle in the eye? |
|
Definition
|
|
Term
| What does a filter factor of 2 mean? |
|
Definition
|
|
Term
| What 2 extremes must we avoid when using the WFM? |
|
Definition
|
|
Term
| What would be an example of each of those 2 extremes? |
|
Definition
| TOO MUCH LIGHT, TOO MUCH SHADOW |
|
|
Term
What do the letters on a vectorscope graticule
represent? |
|
Definition
| PRIMARY & SECONDARY COLORS |
|
|
Term
| What does an “illegal” red look like on a vectorscope? |
|
Definition
|
|
Term
If the same f5.6 incident light illuminates a black card,
an18% gray card, and a white card, what would the spot
reading of each of the cards be like and why? |
|
Definition
F5.6 FOR 18% GRAY
F2.8 FOR BLACK
F11 FOR WHITE |
|
|
Term
| What are some of the things an 18% gray card represents? |
|
Definition
ZONE 5
IRIS SETTING
AVG OF LIGHT BOUNCE
(½ LIGHT/DARK) |
|
|
Term
If your film or digital camera has a latitude of 6 stops evenly
divided, what would be the range of that latitude if your iris
setting is at an f5.6? |
|
Definition
|
|
Term
What type of meter readings do you take if you’re using
the Zone System? |
|
Definition
|
|
Term
If you paint a big Zone System scale on a wall and light each
Zone evenly, what are 2 ways to find the iris setting for the
perfect photo of it? |
|
Definition
|
|
Term
| In that photo the iris setting represents which zone? |
|
Definition
|
|
Term
|
Definition
|
|
Term
If we took a spot meter reading of an object, and we got
an f11 reading, where would we place the f11 on our Zone
System “slide rule” if we wanted the object to come back
looking like Zone 5 gray? |
|
Definition
|
|
Term
Where would we place that f11 if we wanted the object to
look like Zone 8 white? |
|
Definition
|
|
Term
| What would we shoot our photo at in both examples? |
|
Definition
|
|
Term
When we are using our spot meter to find a “reflectance
reference” in our set, we are looking for an f-stop that will
be 3 things. What are those 3 things, and how do they help
us in cinematography? |
|
Definition
| ZONE 5 OBJECT, IRIS SETTING, LATITUDE DIVIDE LINE |
|
|
Term
| What does “placement and fall” mean? |
|
Definition
| PLACE ON TOP OF ZONE & LATITUDE ACCORDINGLY |
|
|
Term
If you are unable to match f-stops between a wide shot and
a close-up, what can you match so that the lighting in your
wide shot will edit nicely with the lighting in your close-up? |
|
Definition
CONTRAST RATIOS
KEY+FILL / FILL = CONTRAST RATIO |
|
|
Term
If you are “racing the sun” during an afternoon exterior
scene, what do you do with your talent’s light as the sky gets
darker so that the brightness ratios will match for all the
shots in your entire scene? |
|
Definition
|
|
Term
Can this same strategy be applied to a day interior with
a large window if the sky is in the shot? |
|
Definition
| YES… SCRIM DOWN & OPEN IRIS |
|
|
Term
What 2 strategies can you take to make your interior
shots look more 3 dimensional and interesting? |
|
Definition
LAYERING OF FORE/MID/BACKGROUND
AS MANY ZONES AS POSSIBLE |
|
|
Term
What is the Zone System guideline for day interior
backgrounds? |
|
Definition
|
|
Term
| How about for night interior backgrounds? |
|
Definition
|
|
Term
What is the Zone System guideline for bare burning
bulbs in a shot? |
|
Definition
|
|
Term
How about the Zone System guideline for creating
silhouettes? |
|
Definition
|
|
Term
How about making a day interior window read
believably? |
|
Definition
|
|
Term
Where should your moonlight key light be placed in order to
make your scene look most believable and dramatic as a
night exterior? |
|
Definition
| HIGH & ¾ BEHIND (CREATES “KICKER”) |
|
|
Term
What Zone should you place a spot reading of the shadow
side of your talent’s faces in that same night exterior? |
|
Definition
|
|
Term
| What 3 ways can we set the levels on a lighting control console? |
|
Definition
CHANNEL FADER
DATA KEYPAD
TRACKBALL |
|
|
Term
| What is the ampacity of a leprecon box? |
|
Definition
|
|
Term
What general rules must we follow for green screen
filming? |
|
Definition
LIGHT GREEN SCREEN EVENLY
NO GREEN SPILL ON TALENT
LIGHT TALENT SEPERATELY 1 STOP BRIGHTER
AVOID TALENT SHADOWS ON GREENSCREEN
MATCH TALENT LIGHT W/ SCENE |
|
|
Term
| What are the power connections like for our 4K Xenon? |
|
Definition
| 240 VOLTS 3 HOTS & GROUND |
|
|
Term
| Where does the hot spot for that light begin? |
|
Definition
|
|
Term
| What 2 ways can we lower the intensity of our Xenon? |
|
Definition
| ND GEL, 10K SCRIMS W/ CARDELINNI |
|
|
Term
What 3 pieces of information must we have in order to
use our charts to determine a good estimate for the ideal
sized key light for our scene? |
|
Definition
| ASA, F-STOP, (CALCULATE FOOTCANDLE) DISTANCE |
|
|
Term
There will be 3 questions about some of the movies we
watched in class and why we watched them. Please study
your Keynote slides about each of the movies we viewed
in order to study for these 3 questions. |
|
Definition
| LECTURE 2-6 The rest is up to you! Buena Suerte/Good Luck! |
|
|
