American Cinematographer - August 2008 - (Page 73) preconceived notions [based on] experiences and things they’ve heard and read, and we bring in the experience we’ve had with our own research.” Mitch Bogdanowicz notes that Krosskove hewed to three important rules throughout production: “First, don’t underexpose. You want to use a camera like this to get all the information you can, and if you underexpose, you will end up with too little information; that will cause the introduction of noise at various stages of post. If you want something to look dark, it’s better to achieve that partly in camera and fine-tune it in post. Second, if you want to get a color cast, don’t push it too far with filters on the cameras or gels on the lights. If you want to make the light look warmer, do that partway in camera, but not so much that you underexpose the blue information. You’re better off starting with as much information as possible and finetuning in post.” He emphasizes that the final rule is just as important for directors and producers as it is for cinematographers: “Don’t treat the media like it’s free just because it’s going onto a hard drive. Don’t treat it like it’s videotape, either. The Origin records about 1.4 terabytes of data per hour, and that has to be put on LTO-3 tape and then on a server, where all the data has to stay. The cost of media and labor adds up. You wouldn’t put a 1,000-foot magazine on a film camera and let it run while you visit the craft-services table, and that’s exactly how you should think of working with a camera like the Origin.” I 73 http://www.cinematographyelectronics.com http://www.cinematographyelectronics.com http://sydneyfilmschool.com http://sydneyfilmschool.com http://www.visualproducts.com http://www.visualproducts.com http://www.visualproducts.com
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