Term
| What is the most common circle of confusion size for 16mm? For 35mm? |
|
Definition
| 6/10,000 (.0006) for 16; 1/1,000 (.001) for 35 |
|
|
Term
|
Definition
| steps of one-third stop (1/3 EV) are the most common, since this matches the ISO system of film speeds |
|
|
Term
| define t-stop and explain the advantage |
|
Definition
| transmission stop; f-stop minus loss of light due to lens design |
|
|
Term
|
Definition
| 100 ASA @ 100 FC @ 24 fps @ 180 shutter w/no filter = f2.8; any time you double or half a stop you gain or lose a stop |
|
|
Term
|
Definition
2"x2"
3"x3"
Series 9
72mm
4"x4"
4 1/2" round
4"x5.65"
138mm round
6"x6" |
|
|
Term
|
Definition
| small film; obsolete size |
|
|
Term
|
Definition
| no longer common; old 16mm gear |
|
|
Term
|
Definition
| (retaining rings and adapters, drop in filter) used for still photo/DVCAM/16mm |
|
|
Term
|
Definition
| threaded; used with Angenieux/DVCAM/still photo |
|
|
Term
|
Definition
| common to standard 16mm studio matte boxes; used for DVCAM and small HD |
|
|
Term
| describe 4 1/2" round filter |
|
Definition
| polarizing and diopter size for 4"x4" matte boxes |
|
|
Term
|
Definition
| common to 35mm; HD, Super 16 (P Series/AKA 4"x5") |
|
|
Term
| describe 138mm round filter |
|
Definition
| polarizing and diopter size for 4"x5.65" matte boxes |
|
|
Term
|
Definition
| large format; 35mm, graduated filters on sliding trays |
|
|
Term
| What does the mirrored scale do? |
|
Definition
| used to determine correct filters |
|
|
Term
| Name the two conversion filters for film. |
|
Definition
| 85 (Orange) and 80A (Blue) |
|
|
Term
| What is the stop compensation for the 85 conversion filter? |
|
Definition
|
|
Term
| What is the stop compensation for the 80A conversion filter? |
|
Definition
|
|
Term
| List the three common neutral density filters and their stop compensations. |
|
Definition
ND3=1 stop
ND6=2 stops
ND9=3 stops |
|
|
Term
| describe polarization filters |
|
Definition
cuts light coming through filter from all but one direction
Minimizes scattered light
Saturates colors
Darkens skies
Minimizes reflections |
|
|
Term
| What limitations do polarizing filters have? |
|
Definition
Loss of 1 1/2 to 2 stops of light; doesn't work at angles up to 45 degrees away from light source and its opposite; doesn't work on overcast days; limited panning an tilting
take light readings with meter behind filter, oriented as it will be on the lens of camera |
|
|
Term
| 3 factors affecting depth-of-field |
|
Definition
1. Aperture - the smaller the opening, the greater the DOF
2. Focal Length - the widerthe lens, the greater the DOF
3. Film plane to subject distance - the greater the distance, the greater the DOF |
|
|
Term
| 1/3 - 2/3 rule (of the given dot for a point of focus at a given stop) |
|
Definition
| 1/3 of the DOF falls ahead of point of focus and 2/3 falls behind |
|
|
Term
| 10 factors that affect apparent sharpness of image |
|
Definition
1. Lens resolution
2. Resolving power of a lens - a measurement of a lens' ability to reproduce detail
3. Measured in MTFL (modular transfer function) via lines per inch / contrast
4. Media the image is recorded to (film, tape, etc.)
5. Lab processes, compression, etc. that affect image (push/pull, tint/tone, flashing)
6. Filters
7. Aerial diffusion
8. Magnification of original image to final viewing size
9. Final viewing media
10. Resolution of projection/display method |
|
|
Term
| hyperfocal distance (at a given focal length and stop) |
|
Definition
| the nearest distance in acceptable focus when the lens is focused to infinity |
|
|
Term
| HFD (hyperfocal distance) rule-of-thumb |
|
Definition
| when the lens is focused at the HFD at a given stop, everything from 1/2 the HFD to infinity will be in focus |
|
|
Term
| define circles of confusion |
|
Definition
| the largest blur circle that will still be perceived by the human eye as a point |
|
|
Term
| resolving power of a lens |
|
Definition
| measurement of the lens' ability to reproduce detail |
|
|
Term
| 3 problems to look for when testing zoom lenses |
|
Definition
1. Tracking - centering of lens, pulls left or right when zoomed out
2. Breathing - image size changes when lens is focused
3. Focus shift - any softening/buzzing of focus during zoom after lens has been zoomed in and focused; ALL NO GOOD (not to be confused with back focus on video lenses) |
|
|
Term
| How to check for tracking of a zoom lens |
|
Definition
1. Zoom in and line up target
2. Zoom out and watch for pull (a little is OK)
3. Zoom back in; should still be lined up (any is NO GOOD) |
|
|
Term
| How to check for focus shift of a zoom lens |
|
Definition
1. Zoom in and focus
2. Zoom out and check
3. Zoom back in and check |
|
|
Term
|
Definition
1. With lens on camera, set aperture to widest opening
2. If distances are marked on lens, set a focus chart at each distance (if not make own distances and mark on tape)
3. Use tape measure to check chart is at each distance; look through eyepiece and focus chart by eye
4. Compare eye focus to distance measured; see if a match
5. Square every distance on barrel against your eye; make new marks according to your eye
6. Don't confuse contrast with sharpness
7. ALWAYS TRUST YOUR EYE! |
|
|
Term
| When should you check the gate? When should you check more often (5)? |
|
Definition
1. After the last take of every shot; AD calls, "Check the gate." No one moves, leaves, turns off lights, etc. until gate is clean
2. Say loudly, "GATE IS GOOD!"
Check more often during long, complicated shots, limited takes, danger to crew or actors, excessive number of shots, or any time you put up a new mag. |
|
|
Term
|
Definition
1. Pull aperture plate - 35mm only, Panavision
2. Pull lens - easiest method but not to be used in dirty environments or with heavily rigged lenses
3. Sight down lens - only works with lenses 40mm or longer in 16mm or 80mm in 35mm |
|
|
Term
| What is the minimum focal length of lenses when you plan to check the gate by sighting? (16mm and 35mm) |
|
Definition
| 16mm=40mm or longer; 35mm=80mm or longer |
|
|
Term
|
Definition
syncing of shutter to registration; if it's off, image will smear
put film in camera and unplug; clear shutter; mark one or more frames with Sharpie; back up film and advance marked frames looking around corner of the shutter; if mark moves into position as shutter clears timing is off |
|
|
Term
|
Definition
1. Shoot grid test; also shoot a hard, bright light
2. Outline frame in gate and look for movement
3. For Super 16: Load double-perf film in camera and look for movement |
|
|
Term
|
Definition
| bring focus close-up to lens, powers of +1, 2, 3, 4 |
|
|
Term
|
Definition
| like bifocals, allows you to bring two objects to the same plane of focus where otherwise not be |
|
|
Term
|
Definition
| narrowing the shutter allows moving objects to stay sharp, but more light is needed, which means opening aperture, which means a shallower DOF |
|
|
Term
| What does closing down the shutter do to the image? |
|
Definition
1. Slightly decreases motion blur and sharpens image
2. Closing down past a certain threshold can cause strobing (staccato movement)
- Strobing can also occur no matter what shutter size when panning across vertical detail
-Panavision - 200-40 degrees |
|
|
Term
| Aspect ratios (16mm, Super 16, HD, 35mm, Anamorphic) |
|
Definition
16mm - 1.35.1
Super 16 - 1.66
HD - 1.78
35mm - 1.85
Anamorphic - 2.35/2.4 |
|
|
Term
|
Definition
*1000' magazines
*Heavy lenses
*Heavy matte boxes
*Block batteries
*Extension eye-pieces
*Extra accessories |
|
|
Term
|
Definition
*500' magazines (or other lighter amount)
*Prime lenses and lightweight zooms
*Clamp-on matte boxes
*Wireless follow-focus
*Wireless video assist transmitter and receiver or extra BNC and a wrangler
*On-board batteries
*Close light trap
*Talk to operator when they arrive and find out what they need
*Help operator build and balance camera
*Have stand always on standby to hold cam on arm
*Figure out wireless before you get on set |
|
|
Term
|
Definition
*Belt batteries or on board
*Lightweight magazines
*Hand grips
*Short eyepieces
*Lightest camera and lens mode
*Whip and speed crank |
|
|
Term
| operator and 1st AC (for handheld) - duties and tips (4 things) |
|
Definition
*Has to know sharpness (be able to catch any buzzed shots)
*Looking for boom, equipment, people, reflections etc. in shot
*Blocking, framing, composition
*Eyelines |
|
|
Term
|
Definition
| Single perf; uses maximum image area on 16mm film; uses 20% more area; does not allow for sound track; aspect ration 1.66:1 |
|
|
Term
|
Definition
*Watch the initial blocking for lighting and actors
*Measure distance to objects (unmoving) and map them out
*Remember that DOF decreases exponentially as subject approaches camera
*Observe subjects' movement, make as many marks as you need without confusing yourself
*Guess distances before you measure
*Stand up for yourself, make sure you are given enough time to measure |
|
|
Term
| 2 types of pulling focus; describe |
|
Definition
Natural/Organic
*Pull from one speaker to next speaker
*Pull from one set of eyes to next set
*Pull when weight of scene shifts from one character to the next
Stylized Focus Pulling |
|
|
Term
| tips for shooting in sand |
|
Definition
*Use blimp or environmental house for camera
*Tarp (protect cases - put tripod on)
*Tape all openings closed on camera when not in use
*11-pin Fischer (used for video tap, speed control, zoom control, eyepiece heater, lens light)
*Niner box-11-pin Fischer hub
*Junction box
*Consider zoom lens (easy to change focal length and check gate w/o pulling lens)
*Saran wrap lens
*When you need to swap mags/lenses, go to safe area, pull off safety layers (ex. Saran)
*Pack light - extra gear |
|
|
Term
| tips for shooting in cold |
|
Definition
*Battery's charge diminishes quickly; keep off ground and out of wind (though with circulation (ex. cooler))
*Keep batteries charging and swap often and LABEL
*Bring extra batteries, equipment
*Keep camera covered, don't store camera or batts in cold
*Cold may affect focus onlens; check with eye and make new witness marks
*Condensation will cause video camera/electronics to fail
*Schedule time in day for equipment to warm up before shooting if going from cold to warm
*Store lenses in sealed plastic bag to transition
*Open cases ASAP when you get indoors
*Pull caps off lenses to let air get at them
*Some cams may need to be greased at different grade; contact rental house or manufacturer |
|
|
Term
| tips for shooting in rain |
|
Definition
*Rain cover (and cover carts)
*Don't leave cases open
*Let gear dry out before storage
*Don't let batteries get wet |
|
|
Term
| tips for shooting in the sun |
|
Definition
*Keep sun off camera and film stock and operator
*Humidity will show fluid streak on lenses
*Emergency blanket good to reflect sun back
*Vent electronics
*Cooler for stock |
|
|
Term
| tips for traveling/airports |
|
Definition
*Travel light or rent gear at location
*If flying what can you carry on? What can you risk checking into baggage?
*Are your batteries flight-OK/legal?
*Have 3 copies of insurance and equipment lists; one at home, on you and one in cases
*Label cases outside and deep inside
*Be prepared to open cans in bag at airport |
|
|
