The limit to brightness
 

Dave Plowman (News) wrote:
In article ,
Bill Wright wrote:
Dave Plowman (News) wrote:
In article ,
Bill Wright wrote:
You can't simply shoot with natural contrast ratios. The 'system'
simply can't cope with it. You either have to light the foreground to
reduce the contrast, or reduce the brightest parts with filters of
some sort
What sort of filter reduces contract?
A filter across the window of the room you're shooting in. Etc.

A shade then.

Not really. It's common (in drama) to fit a filter to a window which is
invisible to the camera, so you can still shoot the window. It simply
reduces the light coming through it.

Oh I see. What is it, some sort of mesh, or plastic sheet?

Bill

The limit to brightness
 

In article ,
Bill Wright wrote:
Not really. It's common (in drama) to fit a filter to a window which is
invisible to the camera, so you can still shoot the window. It simply
reduces the light coming through it.

Oh I see. What is it, some sort of mesh, or plastic sheet?

Can be either. Plastic sheet is cheaper, but more likely to be seen, as it
will reflect from some angles. The posh stuff is a mesh.

--
*I don't know what your problem is, but I'll bet it's hard to pronounce

Dave Plowman London SW
To e-mail, change noise into sound.

The limit to brightness
 

"Dave Plowman (News)" wrote in message
...
Not really. It's common (in drama) to fit a filter to a window which is
invisible to the camera, so you can still shoot the window. It simply
reduces the light coming through it.

It's also fairly common to put lights outside the window, facing inwards, to
simulate or supplement sunlight:

http://img69.imageshack.us/img69/1843/pict7331v.jpg

They are positioned so they aren't visible from inside!

This was a picture I took of them filming an episode of Lewis in the square
outside Oriel College in Oxford.

Likewise http://img513.imageshack.us/img513/4269/pict9847.jpg taken outside
The Randolph.

The limit to brightness
 

"Dave Plowman (News)" wrote in message
...
In article ,
Bill Wright wrote:
Not really. It's common (in drama) to fit a filter to a window which is
invisible to the camera, so you can still shoot the window. It simply
reduces the light coming through it.

Oh I see. What is it, some sort of mesh, or plastic sheet?

Can be either. Plastic sheet is cheaper, but more likely to be seen, as it
will reflect from some angles. The posh stuff is a mesh.

The sheet or mesh used to be amber coloured to make the colour of the
daylight match the colour of the tungsten lights that they were using to
light the interior, though nowadays it seems to be more common to dispense
with the amber colour and use daylight-filtered lights for lighting the
interior. Either way, you want the daylight and interior to be lit to the
same colour.

The limit to brightness
 

In article ,
Mortimer wrote:
Can be either. Plastic sheet is cheaper, but more likely to be seen,
as it will reflect from some angles. The posh stuff is a mesh.

The sheet or mesh used to be amber coloured to make the colour of the
daylight match the colour of the tungsten lights that they were using to
light the interior, though nowadays it seems to be more common to
dispense with the amber colour and use daylight-filtered lights for
lighting the interior. Either way, you want the daylight and interior
to be lit to the same colour.

More usual to use HMI lamps on location - they are more efficient than
tungsten which can be important when running off a domestic supply, where
the maximum load is 13 amps. They are approx daylight.

--
*To be intoxicated is to feel sophisticated, but not be able to say it.

Dave Plowman London SW
To e-mail, change noise into sound.

The limit to brightness
 

Dave Plowman (News) wrote:

Not really. It's common (in drama) to fit a filter to a window which is
invisible to the camera, so you can still shoot the window. It simply
reduces the light coming through it.

Fascinating! Didn't know that.

--
SteveT

The limit to brightness
 

Bill Wright wrote:

Don't forget though that in those days it was assumed that viewing was
done in greatly subdued light.

Ah yes, of course. The important thing is what the screen looks like
in the normal viewing conditions. It would certainly look darker than
the insipid pale brown it has in full daylight.

--
SteveT

The limit to brightness
 

"Dave Plowman (News)" wrote in message
...
In article ,
Mortimer wrote:
Can be either. Plastic sheet is cheaper, but more likely to be seen,
as it will reflect from some angles. The posh stuff is a mesh.

The sheet or mesh used to be amber coloured to make the colour of the
daylight match the colour of the tungsten lights that they were using to
light the interior, though nowadays it seems to be more common to
dispense with the amber colour and use daylight-filtered lights for
lighting the interior. Either way, you want the daylight and interior
to be lit to the same colour.

More usual to use HMI lamps on location - they are more efficient than
tungsten which can be important when running off a domestic supply, where
the maximum load is 13 amps. They are approx daylight.

I thought they generally used HMI lamps or else tungsten with blue gels to
make it daylight, but one of the photos I took of the filming of Lewis looks
as if a lamp used inside (the one behind Laurence Fox) was tungsten colour:

http://img838.imageshack.us/img838/213/pict9844.jpg

The limit to brightness
 

In article , Mortimer
wrote:
I thought they generally used HMI lamps or else tungsten with blue gels to
make it daylight,

It gets a bit warm if you use lots of tungsten, particularly if you have to
use blue filters because that makes them even less efficient than they already
are, so you have to use more of them, which makes it even more warm.

but one of the photos I took of the filming of Lewis looks
as if a lamp used inside (the one behind Laurence Fox) was tungsten colour:

http://img838.imageshack.us/img838/213/pict9844.jpg

Better to use an orange filter on an HMI lamp than to use tungsten. Maybe it
was supposed to be an interior night or dusk scene.

Rod.
--

The limit to brightness
 

On Fri, 31 Aug 2012 07:34:41 +0100, David Woolley
wrote:

from black to white with a contrast between each section. I wonder how
many people now take the trouble to adjust a new TV set - first with the

Probably only slightly fewer than did so for analogue, i.e. not many at all!

Hmm... I do that periodically with every monitor, yet I've never done
it with my TV. Good idea. I have a few test card pics.