Jack and I agree on this – it


Jack and I agree on this – it's a biut insulting to the lighting designers to have their carefully planned lighting described as having unintentional hot spots. Nothing is ever unintentional. 

My old work camera was a PMW-400 series, but my own cameras are JVC 251 x 2 and a 750.

Hivideo's comment about in this day and age isn't really how it is. I still do a bit of broadcast as a freelance, and am a member of the Guild of TV Camera Professionals, and in the studio and on OBs, all the cameras are still racked by a person. The iris and sensitivity being done live by a dedicated person, and of course our cameras don't even have autofucus. My theatre work means I work in low light a lot, and manual focus isn't the big hassle people think it is. The viewfinder always gives you clues. If the subject is blurry, but the background sharper, you know you have to focus forwards, but if the background is blurry too, then you need to focus back. In a lot of cases, you know how close top infinity you are focussed, as there's usually a little knobble on the lens ring on proper lenses. My normal shooting setup is a zoom demand on the pan handle, and my left little finger sits on the focus ring, and my first finger can adjust the iris, as I leave the iris auto/manual switch on manual. One big problem with modern lighting is that designers now use lots of backlight, which makes the actors stand out, and their facelight comes from the front. These lights for plays are hidden, but for music events they are not, and with moving lights sweeping around, the last thing you want is the mover shining into your lens and the auto system shutting the iris down. Bleaching out is better out of the two choices – but you do have to be careful that CMOS chips can have horrible vertical smearing – and worse, if the lights are dimmed then these vertical stripes can move!

To Jack – I've been using the JVCs for years now – started on the 110s, and while I like the 750 for the same shape, I don't like it's response to colours on stage – the older chips seem to render shades between red, through magenta to blue, but the 750, like my Pentax DSLR just has red, then the same pink, then blue. It isn't gradual. I don't miss the Sony that much. It was a lovely camera, but was on a lease deal, so at the end of the term, it went back, and I picked up the 750 at about the same time. I don't find much depth of field with the 1/3" chips as for the majority of the time, the gain has to be on 0dB so the lense working nearly wide open.

A good example of how auto control would be thwarted is in this recent video – where the movers often shine straight at me. This was shot on two of the 1/3" cameras.





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