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On Thu, 3 Oct 1996 10:06:31 -0400 (EDT), you wrote:
>This is a little off-subject with regard to telecine, but why do TV
>productions use such high-speed stocks as 98 and the new 640T?
>Why not light-up to use at least 93 or 87?
>New York, NY
=46or several reasons (most of what follows relates to interiors):
It is easier to have subtle, dramatic, controllable light when there is
less of it (although when lighting multi-camera shows this is partially
academic, as key-to-fill ratios can't be too high when shooting from four
angles, otherwise cutaway cross singles will look "unusual").
Lower light levels mean lower temperatures and thus more comfortable
Lower light levels mean fewer instruments and thus cheaper costs in terms
of equipment rented, power used, numbers of crew people needed.
Lower light with faster stock means a deeper depth of field, which =
important when three or four cameras are tracking talent moving 20-30 =
or more through a set.
And lastly, the two things most DPs love to brag about is the least and
most number of lights they've ever used on a setup.
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