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Shutter: 30 or 60. This is 1/30 or 1/60 of a sec exposure. You will get a little more
Motion blur w/ 30 (a more film-like look ) and a little less with 60.
Zoom: Your choice Manual or with Servo Lever
Gain: 0 dB - Every 6 dB jump is equivalent to 1 stop and will increase picture noise
(grain) . You should use this judiciously, 3 dB is subtle, beyond that you will
encounter a change in picture quality although you can employ considerable gain
for subjective artistic purposes.
White Balance - Try and use the presets. Outdoor is a Daylight balance(5500 K) and
should be used when the predominant light source is Daylight regardless of
whether you are interior or exterior. Indoor is a Tungsten (Incandescent) balance
3200 K) and should be used when the predominant source is Tungsten ( typical
warm interior lights) Manual white balance should be performed when there are a
mixture of sources and one is attempting to average these sources. A white card
should be held up at the Principal actors face in his/her Key light, for instance, to
perform this white balance. Also useful for predominantly Florescent sources that
tend to have a green cast to them. Press the white balance button and the camera
will set the white balance.
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Tips:
Picture Gain:
In the Manual mode you must have the various control parameters visible on the LCD in
order to control them. So, be aware that unless you see the 0 dB setting on your LCD,
your camera will be in auto mode for that function and it will make gain changes
automatically for you. This is a problem to keep an eye on.
UB vs. Time code: UB or "user bits" is perhaps best used in this class as an internal
24 hr clock. You can toggle between UB and Time code with the TC/U-BIT button. The AE
shift function is not recommended for this class.
Custom Preset Button: On the top of the Camera by the handle is an in-camera color,
sharpness, and White Balance shift corrector. You can get some very saturated looks
with this. It may be worthwhile experimenting with these to see if they might be useful at
some point as an effect. The top of the camera also has an AGC (Automatic Gain Control)
limiter for audio.
Auto Lock mode should only be set to Hold when you are not going to alter your
f-stop from scene to scene (hardly ever happens). Leave the Auto Lock in the Middle
position at all times.
INT. REC.: This is the "Interval Record" function usually called Time lapse photography by
filmmakers and can be useful for a special effect. Time lapse is a way of compressing
Real Time events into controlled Screen Time segments. Let's say you want to see
sunset occur in Time-lapse, for a screen time of 6 seconds. Sunset on the 27th of
August is at 7:25 with dusk lasting through to 7:42 (23 minutes). If you add some
"handles" to this time to get a little flexibility you might decide to film for 1 hour from 7:00 to
8:00 pm then you have some extra length with which to work. Thus you want to
compress 23 minutes into 6 seconds, or an hour into about 18 seconds.
The camera has some settings available: INTV (Interval) for the space between
exposures, and REC TIME for the length of each "shot".
The options are:
INTV: 00:30 secs, 1:00 min, 5:00 min, and 10:00 min.
REC TIME: 0.5 secs, 1 sec, 1.5 secs, 2 secs
So, if you expose 1.5 sec of tape (REC TIME) every 5 minutes (INTV) for an hour and set
to the INT REC (Interval Record) function, you will end up with a 18 second filmed piece
of a 1 hour event, and you can then edit for the best 6 seconds.
The camera must be on a solidly placed Tripod (take care of the wind) and try to make
sure that your lens does not flare (with sun or other light) by flagging off light sources
not within the field of view (this is of course difficult for the sun which pretty much has
to be in the field of view).
Follow Focus: On this camera it is a bit difficult. But follow these rules. In a simple
compositional set-up, with one character. Zoom into the subject to get a sharp focus
then zoom back out to set your composition.
If you are attempting a rack focus from one subject to another you cannot use the zoom
in procedure to get marks with these cameras. This is quite different from a Cine lens
whereby you can get focus marks by zooming into various key positions and marking the
lens, then returning to your compositional size and allowing the first assistant to rack
focus from position to position as you pan the camera. The PD-150 is a Digital camera of
the type that does not allow this zoom in procedure.
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