Equipment for wildlife film-making.

Rodney Compton · February 26th, 2006, 05:17 AM

Hi Brendan

No of course I didn't superimpose the owl, but it's an interesting question. That sort of separation is due to the 700 mm lens effect =(400x1.6), plus a halo of back lighting.

Interestingly I am an expert at superimposition, or comping as we used to call it and I have been working on Photoshop since version 3. Before that I did transparency comping and dye transfer printing, from which we get the term 'unsharp mask'. Have you ever wondered why an unsharp mask tool increases sharpness? It's because, in traditional comping - with film overlays, there was a thick masking film material that was exposed soft, and overlayed with the film separations to reverse tone - allowing detail to be printed in when the final comp or transparency dupe was exposed. It used to take a whole day to do one dye transfer print, but I remember that Benson and Hedges paid £30000 for one multi-part image; the most I ever got was £3000 for one comp image. Incidentally, Tecnicolor, which was the standard for Movie Film colour, was based on Dye Transfer or the Imbition process back in the 1940's-50's. The Cameras held three spools of black and white negative stock which was exposed simultaneously through beam splitters and separation filters then recombined as a dyed up colour film positive- all in register. We use the same concept in our modern three chip video cameras, but the recombination is done electronically - hence the superb colour quality.

The camera was tripod mounted - I have been a professional for thirty years and have about six good tripods for all eventualities. If you are selling your work, it has to be either deliberately sharp or deliberately fuzzy, sometimes both, but rarely neither of these options.

I have hand held that 135-400 lens though and got sharp results, but usually in bright light and with an increased ASA/ISO speed. When I started I would not have given you tuppence for a long or zoom lens - you guys don't know how lucky you are.

Rod C

Brendan Marnell · February 26th, 2006, 04:51 PM

Quote:

Originally Posted by Rodney Compton

The camera was tripod mounted - I have been a professional for thirty years and have about six good tripods for all eventualities. If you are selling your work, it has to be either deliberately sharp or deliberately fuzzy, sometimes both, but rarely neither of these options.

I have hand held that 135-400 lens though and got sharp results, but usually in bright light and with an increased ASA/ISO speed. When I started I would not have given you tuppence for a long or zoom lens - you guys don't know how lucky you are.

Rod C

Good points Rodney, thank you.

I'll be looking for help in due course setting up the odd link to the odd still or video snippet. No hurry at all, but the sooner I have some basic info the better e.g. Do I have to have a website to provide a link? If so what's the simplest way to set up a website, without commercial strings attached? There may well be a thread on this subject, but where is it?

Brendan Marnell · March 25th, 2006, 12:57 PM

John Hewat asked the following question on the DV Challenge thread ...

<<< How to find webspace to host the video - is it easy?

Hello,

If and when I complete the video I will need to find some webspace to host it but haven't a clue how to go about findind it.

Is it easy? Costly? >>>

The answers offered to that question by several experienced members were most helpful to me and I'm sure others too. Search for that thread if you're hunting for answers like I was ...

Bruce Heidorn · April 12th, 2006, 04:33 PM

I just went through this process and bought the following. Total comes to $8474. This is an HDV set-up, since, as folks have noted, networks want HD content.
JVC GY-HD100A
JVC Tripod Plate
Anton Bauer Gold mount for JVC camera
Anotn Bauer Dionic90 Battery
Anton Bauer Titan Twin charger
Anton Bauer Ultralight
PortaBrace CTC-3 camera case
PortaBrace RS-HD100 Rain Slicker
Sachtler DV 4 II/2 Tripod System
Anotn Bauer Multi Power Tap

Audio I would rent until you find out what works best for your situations.
The GY-HD100A captures stunning pictures in HDV and kicks Bootie in DV.
Have Fun and two things to remember....1 By the time you purchase the EQ it will already be obsolete. 2 NAB is right around the corner so look for b-stock equipment to start showing up in May.

February 26th, 2006, 05:17 AM	#46
Rodney Compton Regular Crew Join Date: Jan 2006 Location: London Posts: 90	Owls Hi Brendan No of course I didn't superimpose the owl, but it's an interesting question. That sort of separation is due to the 700 mm lens effect =(400x1.6), plus a halo of back lighting. Interestingly I am an expert at superimposition, or comping as we used to call it and I have been working on Photoshop since version 3. Before that I did transparency comping and dye transfer printing, from which we get the term 'unsharp mask'. Have you ever wondered why an unsharp mask tool increases sharpness? It's because, in traditional comping - with film overlays, there was a thick masking film material that was exposed soft, and overlayed with the film separations to reverse tone - allowing detail to be printed in when the final comp or transparency dupe was exposed. It used to take a whole day to do one dye transfer print, but I remember that Benson and Hedges paid £30000 for one multi-part image; the most I ever got was £3000 for one comp image. Incidentally, Tecnicolor, which was the standard for Movie Film colour, was based on Dye Transfer or the Imbition process back in the 1940's-50's. The Cameras held three spools of black and white negative stock which was exposed simultaneously through beam splitters and separation filters then recombined as a dyed up colour film positive- all in register. We use the same concept in our modern three chip video cameras, but the recombination is done electronically - hence the superb colour quality. The camera was tripod mounted - I have been a professional for thirty years and have about six good tripods for all eventualities. If you are selling your work, it has to be either deliberately sharp or deliberately fuzzy, sometimes both, but rarely neither of these options. I have hand held that 135-400 lens though and got sharp results, but usually in bright light and with an increased ASA/ISO speed. When I started I would not have given you tuppence for a long or zoom lens - you guys don't know how lucky you are. Rod C

March 25th, 2006, 12:57 PM	#48
Brendan Marnell Major Player Join Date: Dec 2004 Location: Dublin, Ireland Posts: 938	some answers John Hewat asked the following question on the DV Challenge thread ... <<< How to find webspace to host the video - is it easy? Hello, If and when I complete the video I will need to find some webspace to host it but haven't a clue how to go about findind it. Is it easy? Costly? >>> The answers offered to that question by several experienced members were most helpful to me and I'm sure others too. Search for that thread if you're hunting for answers like I was ...

April 12th, 2006, 04:33 PM	#49
Bruce Heidorn New Boot Join Date: Apr 2006 Location: Nashville, Tennessee Posts: 7	Equipment for wildlife film-making I just went through this process and bought the following. Total comes to $8474. This is an HDV set-up, since, as folks have noted, networks want HD content. JVC GY-HD100A JVC Tripod Plate Anton Bauer Gold mount for JVC camera Anotn Bauer Dionic90 Battery Anton Bauer Titan Twin charger Anton Bauer Ultralight PortaBrace CTC-3 camera case PortaBrace RS-HD100 Rain Slicker Sachtler DV 4 II/2 Tripod System Anotn Bauer Multi Power Tap Audio I would rent until you find out what works best for your situations. The GY-HD100A captures stunning pictures in HDV and kicks Bootie in DV. Have Fun and two things to remember....1 By the time you purchase the EQ it will already be obsolete. 2 NAB is right around the corner so look for b-stock equipment to start showing up in May.