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tupp

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tupp last won the day on September 18 2017

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About tupp

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  1. tupp

    Lighting Recommendation?

    Okay, but real tungsten has a smoother spectral curve than fake tungsten. I seem to recall hearing that some folks were buying off-brand replacement bulbs and double-ended bulbs for hardware store, quartz work lights. They were putting these sub par bulbs into production fixtures with double-ended sockets (Totas, Nook lights, various zip lights, Colortran Multis, etc.), and the bulbs were slightly shorter than the standard bulbs. Perhaps someone in your organization purchased a batch of such bulbs, and that is what caused the buzzing/arcing on multiple fixtures. I have never seen such problems, but I have always used brand-name bulbs in my fixtures. What? No. As I said above, a popped quartz bulb has nothing to do with the fixture -- someone likely touched the bulb without cleaning it, or the bulb could have been defective. Don't blame the Totas. No. If anything, it's another strike against the relatively pathetic output and power density of LED fixtures. The tungsten Totas are fine. Actually, the LED Tota is probably also fine -- it just gives less output (and is undoubtedly more expensive) than a tungsten Tota.
  2. tupp

    Lighting Recommendation?

    Yes. Always use protective screens with open-faced tungsten fixtures, regardless of the level of the crew's experience. Most manufacturers will give you a protective screen for free if you don't have one. Well, you definitely do not want students (nor inexperienced crew) handling your cheap, delicate, re-branded LED fixtures -- they will break something on such fixtures at some point. In general, non-pros handling professional equipment should be very careful, and you have to clearly and emphatically warn such folks of any potential hazards or equipment vulnerability. I never had a problem with students ruining bulbs by touching them -- I simply don't let them install nor handle bulbs. Well, LEDs generally don't provide the punch nor control nor clean color that tungsten fixtures give -- so there is a trade-off. Also, LEDs generally have more weight-per-footcandle (especially if one is toting batteries) Furthermore, on cold sets or on locations with plenty of AC, any heat from the lights is often not a problem (sometimes it's a benefit). Oh. Well, you wrote, "totas," a plural tense indicating that someone inexperienced installed multiple bulbs. If several bulbs pop, it's probably because a clueless person used their bare hands to lamp the fixtures -- popping bulbs have nothing to do with the fixtures themselves. Really? 2-3? I have never had one Tota (nor any other tungsten fixture) "buzz," "spark" nor "short." I have experienced sockets go bad from someone who didn't fully seat the bulb. If there is contact arcing on a Tota double ended bulb, it is easy to see merely by removing the bulb. It looked like it had the output of a 300w tungsten bulb.
  3. tupp

    Lighting Recommendation?

    Are you shooting your interviews in outhouses? With tungsten, you also get a smoother color spectrum, greater beam control and a higher power density. I saw it at NAB. I doesn't look as bright as Tota with a 750w bulb. Here's a tip: never touch the glass part of a quartz bulb, because the oils from your skin will cause it to eventually pop (explode). Always use a clean paper towel to hold the bulb when lamping a fixture. Don't use a facial tissue -- it can be impregnated with moisturizing oils. If you accidentally touch the glass part of a quartz bulb, do not turn it on until you have first cleaned it with a new paper towel and isopropyl alcohol.
  4. tupp

    Lighting Recommendation?

    Here's a used tungsten kit with a decent sized Rifa and a small Pro light for US$425. It also comes with a 40-degree egg crate for the Rifa. This kit is a good deal and that Rifa with the egg crate is great for interviews. It would would probably be a good idea to add a "medium-sized" focus-able light, such as an Omni (here's a beat-up one for US$32). An extra stand for this light will probably run US$30-US$100.
  5. Let's hope that the big tube structure on the front is removable and can be replaced with sane (much shallower) mounts.
  6. It was available in GIMP years before it appeared in Photoshop.
  7. If he were trying to rip-off people, why would he put so much effort into a working prototype and why would he still pursue a review from Bloom? Perhaps he has some sort of psychosis. It's too bad, because they seemed to have made significant progress with the camera. On the other hand, choosing Windows for a camera OS doesn't make much sense. Any embedded version of Linux/Tizen would be simpler and more solid. Linux would make it much easier to get a more appealing GUI up and running. It certainly would have been nice to see the how the camera performs in the hands of someone who has some review skills.
  8. tupp

    Car camera rigs?

    I've done one or two car rigs. Which camera are you using? You probably don't wan't to use a gimbal if you are mounting the camera on the picture car -- the car will bounce and turn while the gimbal will have a tendency to remain still. There was a thread about car rigging last year. Hood mounting can be easy, using just a board with some padding/thick fabric underneath and a motorcycle strap or ratchet strap. You can use a bracket mounted to the board that receives a tripod head or use some sort of tilting/panning mechanism with 1/4"-20 threads. Don't forget to "safety" the camera with a separate tag line/strap. If you want to mount a camera on the side of the car there is a special bracket called a "hostess tray" -- a term derived from the American drive-in diner food trays that the skating hostesses would hook to the customer's car door. Don't forget to "safety" the camera with a separate tag line/strap. Suction cups can wobble and should always be used with an additional safety strap (which can also help stabilize the suction cup rig). There are a few tricks to keep reflections off of the windows. If you are shooting a car in which an actor is actually driving, avoid busy streets! An actor is constantly trying to be the character, which can significantly distract him/her from noticing other cars, pedestrians and road hazards. Having a "spotter" car ahead of the picture car can provide extra safety and can govern the speed. Slow speeds often look faster in the footage.
  9. You have to set the focal length for each manual lens you use. I think that the GH5 asks you about the focal length when you turn on the camera.
  10. Possibly relevant links: Complaint that Panasonic requires customer to pay repair shipping; Lower heating element replacement; Comment on how to replace lower heating element.
  11. Very interesting to see the Kipon MF focal reducer combined with the Mavo LF! Is there any footage available? As nice as it is to see the Kipon-MF/Mavo-LF combo, I must say that the car mount rig shown Instagram link is "ugly" (in grip parlance) and that the motorcycle/ratchet strap stretched on the edge of the car window is alarming, as is the lack of a lens support for the MF lens with the Kipon focal reducer and the Kinefinity E-mount adapter. I hope that they at least attached a lens support for that rig before they drove over any bumps.
  12. What are the dimensions on the sensor of the 4k and 2k crops?
  13. It's not going to do any good if both of us to keep repeating ourselves. I'll try a different explanation. In the first place, dynamic rage was originally a property of analog systems to indicate the useful amplitude range rated in decibels (not "stops"). It is similar to the property of signal-to-noise ratio in that it gives some idea of the useful amplitude range above the noise floor. DR now applies both to analog and digital systems. Bit depth on the other hand is strictly a digital property that simply gives the number digital level increments mapped to an amplitude range (usually including the noise floor). So, the useful amplitude range (analog or digital) and the number of digital increments mapped to the entire amplitude range are two very different, independent properties. The noise floor of the sensor and/or ADC determines the actual dynamic range at that point in a camera's signal pipeline -- not the number digital level increments mapped (log, linear, whatever) to the signal's amplitude range. Or perhaps we are confusing usable capture contrast range with dynamic range.
  14. There are a zillion different 12-bit capable ADCs/cameras, but they all don't have the same dynamic range. You can map 12-bits (linear, log or whatever) to 200 "stops" of dynamic range or map 12-bits to 3 "stops" of dynamic range. Dynamic range and bit depth are two different completely independent properties. The E2's low noise mode may take advantage of the 14-bit depth (I would say that the E2's 14-bit depth takes advantage of it's low noise mode), but, nevertheless, ZCAM could have just as easily mapped 8-bit, 10-bit or 12-bit to that low noise mode. Bit depth and DR are independent properties. Okay. I haven't kept up with the progress (doesn't sound like there has been much 16-bit progress in the last ten years).
  15. No, it doesn't. Dynamic range and bit depth are completely independent properties. Now, an ADC might be part of the signal pipeline that constricts DR, but that has nothing to do with bit depth. Again, the bit depth of those ADCs don't have anything to do with the DR. Those ADCs could just as well be 4-bit with the same DR. By the way, 16-bit ADCs exist.
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