Blue Bus Blues...
- Thread starter Drewski
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Hey try this next time. Use their light on something white and then white balance. This will get a completely different look to the video. Whatever their light hits will be true color. It is another tool to use in your production.
Also. Don't forget to do what I always forget to do. Go through the bus yourself and then edit in the "diver's perspective" along with the wide shots.
Keep having fun.
Also. Don't forget to do what I always forget to do. Go through the bus yourself and then edit in the "diver's perspective" along with the wide shots.
Keep having fun.
OP
Hey Mark:
THANKS! I had tried to white balance when I got to that point but the control in the Gates housing was just a little out of position and I couldn't get it to engage. The MWB setting shown was from a shallower depth. I was thinking about swimming through the bus, but for some reason I didn't. In hind site (now that I've looked at it in the editor), I should have done two shots, one outside like shown and another as a swim through.
Question: in this type of environment, would manual shutter and exposure settings improve quality? The camera seems to be enhancing the "gain" quite a bit and making the picture "grainy."
Any thoughts appreciated...
THANKS!
Andy
THANKS! I had tried to white balance when I got to that point but the control in the Gates housing was just a little out of position and I couldn't get it to engage. The MWB setting shown was from a shallower depth. I was thinking about swimming through the bus, but for some reason I didn't. In hind site (now that I've looked at it in the editor), I should have done two shots, one outside like shown and another as a swim through.
Question: in this type of environment, would manual shutter and exposure settings improve quality? The camera seems to be enhancing the "gain" quite a bit and making the picture "grainy."
Any thoughts appreciated...
THANKS!
Andy
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yes. To eliminate the auto gain. Turn off the auto setting on the back of camera. Use a slower shutter speed. I shoot most of my stuff at only 30fps. Make sure the ND filters are off. Play with the f numbers to the largest aperature to let the most light in. The also keeps your depth of field deep. Turn the gain down to zero.
OK...so why not shoot at 30fps all the time? Really fast stuff can blur a little and using slow motion effects in post always look better with a faster shutter speed. Keep that in mind if you are going to slow mo.
When you have too much light coming in and you want a deep depth of field, turn up the shutter speed untill you aren't overexposed. If you have zebra stripes, use them. Turning up the shutter speed is also how you can get nice aura effects under coral, divers, etc. Def. play with that. It should be easy to get a dark silouette of a diver agaisnt a nice blue surface with a sun aura.
Remember when you want to do that kind of artistic scene, set up for the background exposure. Then, if you want to cast artificial light on the scene, do that after you know the background is what you want. If not the camera wont "do" what you want. You have to learn how to make the camera see what you see when you spot that perfect shot underwater.
For close to surface auras, try setting the white balance to sun setting. If you use halogens, this should be good for the artificial fill light. If not, the artifitial light will cast a weird color. This is why we often want lights close to daylight temperature.
Mark
OK...so why not shoot at 30fps all the time? Really fast stuff can blur a little and using slow motion effects in post always look better with a faster shutter speed. Keep that in mind if you are going to slow mo.
When you have too much light coming in and you want a deep depth of field, turn up the shutter speed untill you aren't overexposed. If you have zebra stripes, use them. Turning up the shutter speed is also how you can get nice aura effects under coral, divers, etc. Def. play with that. It should be easy to get a dark silouette of a diver agaisnt a nice blue surface with a sun aura.
Remember when you want to do that kind of artistic scene, set up for the background exposure. Then, if you want to cast artificial light on the scene, do that after you know the background is what you want. If not the camera wont "do" what you want. You have to learn how to make the camera see what you see when you spot that perfect shot underwater.
For close to surface auras, try setting the white balance to sun setting. If you use halogens, this should be good for the artificial fill light. If not, the artifitial light will cast a weird color. This is why we often want lights close to daylight temperature.
Mark
