AmericanFilmInstitute

CIN621-622AdvancedArtandCraftofCinematography2013
LowLightScenewithTalLazar
June18,2013

Discussion:
As a class and based on Tal's test of the Sony F65 from last year we decided to rate the
camera at 400EI. The task at hand was to shoot a low light scene and capture the images
as clean as possible. We felt we needed more latitude on the shadow side rather than the
highlights and by redistributing the stops we would be able to capture more information in
the shadows.

We determined from the gragh shown that our range was between 6 stops in the shadows
and 4 stops to the highlights.




Tal decided to dial in the white balance of the camera at 4300K. This is based more on his
personal preference because he likes to mix color temperatures and it facilitates that
process for him. He originally wanted 4000K but the F65 seems to only be able to do
3200K, 4300K and 5600K.

The last element we decided on prior to shooting was the recording format and codec. The
F65 is capable of recording 16-bit linear RAW but since we are unable to utilize that option
for our thesis projects, we felt that starting to work on a more relevant format would be
more adequate for the exercise. We ended up recording SR-HQ HD, 10-bit 4:4:4 RGB.

Here are some specifications from the Sony website regarding SR files.

Well-established postproduction system that's already a fixture in high-end facilities
all over the world via the HDCAM-SR tape format
Virtually lossless and visually lossless recording at 880 and 440 Mbps plus space-
saving 220 Mbps SR-Lite
Choice of 4:4:4 RGB or 4:2:2 Y/Cb/Cr recording
12-bit and 10-bit recording for superb tonal rendering (12-bit recording at 880 Mbps)
Variable frame rates: 1-60 fps in SR-HQ, SR-SQ and SR-Lite modes at 23.98, 24,
25, or 29.97 fps time code
Faster than real-time file transfers
File playback on a laptop PC
Broad file compatibility with popular editing and color correction systems
Compatible with HDCAM-SR tape for archiving and program exchange

The Blocking:
As a class we took the time to discuss the beats and the blocking of the scene. We agreed
that Scott was the protagonist of the story and that the woman, even though important to
our story, didnt need to be featured as much. After some people said what camera
positions they thought would be the most effective we decided that placing the camera
from outside the window looking in would be the best choice. We discussed how we
thought that being outside the window would be a more objective experience to the viewer
and since Scott was asleep and this incident was occurring without him being aware of it
than it was the appropriate choice. Playing the reflection of the city on the window would
also allow us to feel the city atmosphere a little more.
For the second shot we decided to start behind him in a fairly tight frame in order to
capture his reaction after he found the ring. We slowly dollied back with him to show more
of his space and the loneliness that surrounded him.

Execution: Set-Up # 1

LightingandCameraPlacementStills:

Set-Up#2

LightingandCameraPlacementStills:

Pace - Key: fl.0, Plll: f.5

Curtaln - fl.0 2/3
8ackdrop - fl.0
l.2K HM| PAP
l8 x 24
Slngle
Net
Tungsten 4' Klno
28 Q l/2 Power
l/4 CT8
Plll - f.7
C|N 62l-622 Advanced Art and Craft of Clnematography
Low Llght Scene wlth Tal Lazar
Set-Up #2
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8
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l.2K HM| PAP
4x8 8ead8oard
7' hlgh at a 45` Angle
l.2K HM| PAP
w/ l/4 CT8
l Double Scrlm
4 x 4 8ead8oard
l2 x l2 8leached Muslln
4 x 4
Llte Grld
l.2K HM| PAP
w/ l/4 CT8
4 x 4 Prame of
Lee 250 Dlnuslon

CameraReport:

Categ. Range Point Aperture

Step Level Slope Skin
Master Saturation
Scene Take Lens T9Stop Filters FPS EI K Angle Height Dist.
1 1 50mm T1.9 ND.3 23.98 400 4300K 180 L3'LLLLLL5" 8'999L4'3"
2 50mm T1.9 ND.3 23.98 400 4300K 180 L3'LLLLLL5" 8'999L4'3"
3 50mm T1.9 ND.3 23.98 400 4300K 180 L3'LLLLLL5" 8'999L4'3"
4 50mm T1.9 ND.3 23.98 400 4300K 180 L3'LLLLLL5" 8'999L4'3"
5 50mm T2.0L1/2 Clear 23.98 400 4300K 180 L3'LLLLLL5" 8'999L4'3"
1A 1 50mm T2.0L1/2 Clear 23.98 400 4300K 180 49"9L65" 8'LL99L5'2"
2 50mm T2.0L1/2 Clear 23.98 400 4300K 180 49"9L65" 49"9L65"
3 50mm T2 Clear 23.98 400 4300K 180 49"9L65" 49"9L65"
4 50mm T2 Clear 23.98 400 4300K 180 49"9L65" 49"9L65"
S9Log2
Res:L1920LxL1080 Aspect:L16x9 TimeLBase:L23.98
Date:LL06/18/13LLLLLLLLL1LofL1 Camera:LSonyLF65
CameraLLLLLLLLLLLRollLLLLLLLLLLLPage
MagL#:LA01
1stLACL/LPhone:LValentinaLMartinicoL9L787.248.3760
2ndLACL/LPhone:LBennettLCerfL9L310.503.5951
Codec:L10bitL9L444L9LSR9SQ
Title:LLowLLightLSceneLwithLTalLLazar
Director:LTalLLazar
DP:LTalLLazar
Gamma Detail
Remarks
Matrix Knee BlackLGamma
AL 1L
1L
1L