學校有的Rosco Filter的資料

UV:


Cinegel #3114: Tough UV Filter 
Mired Shift +8 A virtually clear filter that absorbs 90% of UV wavelengths below 390 nm. Absorbs excess UV output of arcs and HMI with minimal color temperature shift Deep-dyed base. (Transmission = 93%). or -0.1 stop


Diffusion:


Cinegel #3026: Tough White Diffusion (216) 
A moderate diffuser with properties similar to tracing paper. Creates an even field of soft light with minimal color temperature shift. Tough, heat resistant base. (Transmission not available).


Cinegel #3027: Tough 1/2 White Diffusion (1/2 216) 
Similar characteristics to Tough White Diffusion, but less dense. Tough, heat resistant base. (Transmission not available).


Cinegel #3028: Tough 1/4 White Diffusion (1/4 216) 
Similar characteristics to Tough 1/2 White Diffusion, but less dense. Tough, heat resistant base. (Transmission not available).


Cinegel #3030: Grid Cloth 
A reinforced diffusion material that is similar to the silk used in butterflies and overheads. Ideal for tenting and large area diffusion. Can be sewn and grommetted. (Transmission not available).


Cinegel #3032: Light Grid Cloth 
Similar characteristics to Grid Cloth, but less dense. Can be sewn and grommetted. (Transmission not available).


Cinegel #3060: Silent Grid Cloth 
A reinforced, woven diffusion material. Similar properties to Grid Cloth (#3030), but quiet when used outdoors in windy conditions. Can be sewn and grommetted. (60" x 20') (Transmission not available).


Cinegel #3062: Silent Light Grid Cloth 
A reinforced, woven diffusion material. Similar properties to Light Grid Cloth (#3032), but quiet when used outdoors in windy conditions. Can be sewn and grommetted. (60" x 20') (Transmission not available).


Cinegel #3009: Light Tough Frost 
Similar characteristics to Tough Frost, but less dense. Tough, heat resistant base. (Transmission not available).


Cinegel #3010: Opal Tough Frost 
Similar characteristics to Light Tough Frost, but less dense. Tough, heat resistant base. (Transmission not available).




CTB:


Cinegel #3202: Full Blue (CTB) 
Mired Shift -131 Standard Tungsten to Daylight dorrection. For converting 3200K sources to normal daylight. Deep-dyed base. (Transmission = 36%). or -1.5 stop, +2400k


Cinegel #3204: Half Blue (1/2 CTB) 
Mired Shift -68 Boosts 3200K sources to 4100K. A partial conversion to compensate for varying daylight conditions and voltage reduction, or to boost aging HMI lamps and yellowed soft lights. Deep-dyed base. (Transmission = 52%). or -0.9 stop, +900k


Cinegel #3208: Quarter Blue (1/4 CTB) 
Mired Shift -30 Boosts 3200K sources to 3500K. A partial conversion to compensate for voltage reduction, or to boost aging HMI lamsp or household incandescent sources. Deep-dyed base. (Transmission = 74%). or -0.4 stop, +300k


Cinegel #3216: Eighth Blue (1/8 CTB) 
Mired Shift -12 Boosts 3200K sources to 3300K. A partial conversion to compensate for voltage reduction, or to boost aging HMI lamsp or household incandescent sources. Deep-dyed base. (Transmission = 81%). or -0.3 stop, +100k






CTO:


Cinegel #3407: Roscosun CTO  
Mired Shift +167 Converts 5500K daylight to 2900K. Preferred either for a warmer look or when daylight is over 6000K. Optically clear. (Transmission = 47%). or -1.1 stop, -2600k


Cinegel #3408: Roscosun 1/2 CTO 
Mired Shift +81 Converts 5500K daylight to 3800K. Used when partial correction is desired or when daylight is below 4500K. Optically clear. (Transmission = 73%). or -0.5 stop, -1700k


Cinegel #3409: Roscosun 1/4 CTO 
Mired Shift + 42 Converts 5500K daylight to 4500K. Used when slight correction is desired or when daylight is below 4000K. Optically clear. (Transmission = 81%). or -0.3 stop, -1000k


Cinegel #3410: Roscosun 1/8 CTO 
Mired Shift +20 Converts 5500K daylight to 4900K. Used when a very slight warming correction is desired. Deep-dyed base. (Transmission = 92%). or 0.1 stop, -600k




Plus/Minus Green:


Cinegel #3308: Tough Minusgreen 
Mired Shift N/A Converts U.S. Cool White or Daylight type fluorescent lamps to 5500K photographic daylight by removing the excess green. Deep-dyed base. Equivalent to CC30 Magenta. (Transmission = 55%). or -0.9 stop


Cinegel #3313: Tough 1/2 Minusgreen 
Mired Shift N/A Reduces the green output from fluorescents and other discharge sources. Deep-dyed base. Equivalent to CC15 Magenta. (Transmission = 71%). or -0.5 stop


Cinegel #3314: Tough 1/4 Minusgreen 
Mired Shift N/A Reduces the green output from fluorescents and other discharge sources. Deep-dyed base. Equivalent to CC075 Magenta. (Transmission = 81%). or -0.3 stop


Cinegel #3318: Tough 1/8 Minusgreen 
Mired Shift N/A Reduces green output from fluorescents and other discharge sources. Equivalent to CC035 Magenta. (Transmission = 89%). or -0.2 stop


Cinegel #3304: Tough Plusgreen/Windowgreen 
Mired Shift N/A Adds green to natural and artificial daylight sources to balance with U.S. Cool White or Daylight type fluorescents. To be used with overall correction at the lens or in the lab. Deep-dyed base. Equivalent to CC30 Green. (Transmission = 76%). or -0.4 stop


Cinegel #3315: Tough 1/2 Plusgreen 
Mired Shift N/A Adds partial green to Daylight and 3200K sources for balancing with fluorescents and discharge lamps. Equivalent to CC15 Green. (Transmission = 90%). or -0.2 stop


Cinegel #3316: Tough 1/4 Plusgreen 
Mired Shift N/A Adds partial green to Daylight and 3200K sources for balancing with fluorescents and discharge lamps. Equivalent to CC075 Green. (Transmission = 92%). or -0.1 stop


Cinegel #3317: Tough 1/8 Plusgreen 
Mired Shift N/A Adds partial green to Daylight and 3200K sources for balancing with fluorescents and discharge sources. Equivalent to CC035 Green. (Transmission = 93%). or -0.1 stop




ND:


Cinegel #3402: Rosco N.3 
Mired Shift N/A Reduces incident light by one stop. Extra-wide 60 in. Optically clear. (Transmission = 50%). 


Cinegel #3403: Rosco N.6 
Mired Shift N/A Reduces incident light level by two stops. Extra-wide 60 in. Optically clear (Transmission = 25%).


Cinegel #3404: RoscoSun N.9 
Mired Shift N/A Reduces incident light level by three stops. Extra-wide 60 in. Optically clear. (Transmission = 12%).


Cinegel #3405: Roscosun 85N3 
Combines the effect of the 85 and N.3 filters. Extra-wide 60 in. Optically clear. (Transmission = 33%). or -1.6 stop


Cinegel #3406: Roscosun 85N6 
Combines the effect of the 85 and N.6 filters. Extra-wide 60 in. Optically clear. (Transmission = 17%). or -2.6 stop




Straw:


Cinegel #3441: Full Straw CTS 
A yellower (or less red) version of Full CTO. Converts 5500K daylight to 2900K. Deep-dyed base. (Transmission = 50%). - 1 stop , 6500k-3200k?, -2600k


Cinegel #3442: Half Straw 1/2 CTS 
A yellower (or less red) version of 1/2 CTO. Converts 5500K daylight to 3800K. Deep-dyed base. (Transmission = 73%). -1700k


Cinegel #3443: Quarter Straw 1/4 CTS 
A yellower (or less red) version of 1/4 CTO. Converts 5500K daylight to 4500K. Deep-dyed base. (Transmission = 81%). -1000k


Cinegel #3444: Eighth Straw 1/8 CTS 
A yellower (or less red) version of 1/8 CTO. Converts 5500K daylight to 4900K. Deep-dyed base. (Transmission = 92%). -600k




Others:


E-Colour #165: Daylight Blue 
Excellent sky color. Useful for cyc and border lights. (Transmission = 20%). -2.3 stop


E-Colour #183: Moonlight Blue 
Used for dramatic moonlight effects. (Transmission = 18.7%). -2.4 stop


E-Colour #148: Bright Rose 
(Transmission not available).  -2.8 stop


E-Colour #104: Deep Amber 
Sunlight, accents, area lighting with caution to skin tones. (Transmission = 64%). -0.6 stop


E-Colour #015: Deep Straw 
Warm golden amber with some green. Useful for special effects-candlelight, firelight. (Transmission = 61.16%).       -0.7 stop


Cinegel #2001: VS Red 
Incendiary Red - great for fiery stage washes (Transmission = 12%). (FStop: -3.1s)


Cinegel #2006: VS Azure 
Pure, crystalline blue (Transmission = 9%). (FStop: -3.5s)






http://www.rosco.com/us/filters/cinegel.cfm?sortOrder=cn&displayType=0

JVC H700 WITH P+S MINI35 TEST

家裡的IMAC修好了不到2個星期就又壞了…沒有辦法整理視頻，只好現寫一寫了

大概有以下幾點需要特別注意：

1，必須使用35mm的PL mount Lens，如果使用s16mm系列的lens，會有黑邊（到50mm才沒有）

2，Target Speed必須開啟，如果不開啟的話可以在暗位或者焦外明顯看到MINI 35中的那塊毛玻璃。速度又0-8檔可選，振蕩速度越快，則畫面就越柔順，毛玻璃的存在感就越弱，但振蕩產生的噪音也就越大。

3，使用35 lens後，畫幅的focal length的計算確實是和35mm菲林一樣（也近似於ASP-C的DSLR），景深似乎也確實接近35mm菲林的效果，但是因為毛玻璃的存在，畫面焦外成像的效果並不理想，out focus的一些地方會感覺到畫面是隔了一層玻璃──尤其是在HD的畫面下。

4，MINI35會令通光量減2 F-stop，經測試，JVC H700加上MINI35後ISO大約是在100-160之間。

5，JVC本身支持1920x1080 50i，機器本身在pan的時候，或者畫面中有人快速走過時都有嚴重的jelly出現，在final cut pro裡輸出50i的素材仍有這個問題，我試了輸出720p之後才解決這個問題。

綜上，雖然JVC H700機內還有許多可調校的地方，後期也沒有找到一個相對最好的處理方法，但JVC H700 with MINI35，似乎較難提供一個讓人驚喜的畫面質素。P+S mount雖然能提供35mm的畫幅和景深，但卻並不能提供十分優異的畫質，但同時JVC700本身的sensor和成像系統也有一些缺陷，就顏色來講，目測也較DSLR影片差。

Time lapse Reference : Clip from Koyaanisqatsi

KOYAANISQATSI-the gird from ChrisOcean on Vimeo.

GP04 Location Scouting：鶴咀─室外部分。

主景：男主角最後去到的廢棄屋。
所在地：鹤咀半岛 紅點處



交通：於筲箕灣坐9路巴士到鶴咀站下車，沿鶴咀道行指紅線處，有一條隱秘難行的山路可下到鶴咀炮台，行程約20分鍾，絕對不可能攜帶重型器材沿此路下山。
如需搬運器材至外景地，可於赤柱、土瓜灣，或者駕車至鶴咀村，租用船只前往。

外景：

日照圖：

室內部分：待續

Some Visual Reference

the last one is really amazon, and I think it is a good way to show the end of the dream.

How to Create High Dynamic Range Images Using After Effects

圖片：鶴咀看景拍攝的HDR相片測試。

如果只有一部HDSLR，如何做到HDR的視頻呢？

轉載自：

http://nofilmschool.com/2010/12/create-high-dynamic-range-images-effects/

http://vimeo.com/17466654

SKIDVID6 - COMBINING MULTIPLE EXPOSURES FOR HDR WITH DSLR VIDEO from Robin Schmidt on Vimeo.

DAYS OF HEAVEN，there is air in those films.

是日藝術中心放映的DAYS OF HEAVEN應該是full frame版（ratio不是1.85：1）──意思是你看到的內容和當年Almendros在finder裡看到的一樣（雖然他並不掌機…）。難怪headroom那麼多，還穿Boom....但這奇怪的aspect ratio，加上如同120 slide般的通透，仿佛都把那個時代的空氣也印了進去，再加上自然的光線，說days of heaven像油畫有點奇怪，簡直每一禎全是大師級的紀實攝影作品。'




另外，找到了Almendros當年發表在American Cinematographer的攝影筆記，長達十幾頁，詳細敘述了自己如何曝光，如何拍攝Fire scene，使用panaglide等的諸多細節，比起現在的AC MAGAZINE上的文章，可謂更讓人收益良多。

SYP01 酒店

layout

景相：

殉情逐場分析

殉情逐場分析

序

- Time and Venue of the Scene 

正午，酒店房間內

- Motivation of the Scene

1.影片開頭給出故事結果，制造懸念（誰死了，為何而死）

2.奠定故事之後的整體氣氛

- What is the Scene About?

一對男女死在酒店房內。

- Who is in the Scene?

葉生，蔣太，警員

- Who/What is in control?

- Who/What is at stake?

- Any shift in power?

- Where are the "beats"?

- Director's initial treatment/request

第一場

- Time and Venue of the Scene 

早晨， 走廊/樓梯間

- Motivation of the Scene

1.介紹人物、環境，帶出兩人的鄰裡關系。

2.從人物的外表上表現兩人有心事。

3.初步營造兩人間略帶尷尬，似有蹊蹺的氣氛。

- What is the Scene About?

住在同一層樓對門對戶的葉生和蔣太在早晨出門時巧遇，不知為何兩人氣氛有些尷尬，短暫的沉默後葉生主動讓蔣太先走。

- Who is in the Scene?

葉生，蔣太

- Who/What is in control?

葉生在這場戲裡面占主導，較主動。

- Who/What is at stake?

葉生

- Any shift in power?

- Where are the "beats"?

葉生聽到對屋傳來開門聲時的反應/蔣太見葉生看著她時的反應/兩人沉默後葉生開口時/葉生見蔣太走遠後的反應

- Director's initial treatment/request

第二場

葉生，蔣太

- Time and Venue of the Scene 

同日黃昏，大廈外/樓梯間

- Motivation of the Scene

1.再一次巧遇，通過處境上的相似（蔣太的飯盒和葉生的膠袋）加強兩人的聯系

2.從對白上可以了解到兩人的伴侶都不在身邊，兩人都略有些孤獨，但似乎又有些事遮掩。

3.飯盒和種植用具帶出下一場戲，同時也是兩個人的相同的孤獨的不同的象征。

4.由欲言又止的對白和蔣太的對白，引起觀眾對兩人可能產生的曖昧關系的期待

- What is the Scene About?

兩人在黃昏時再次相遇，蔣太帶著飯盒，葉生拎著種植用具回家，兩人在樓梯間聊起各自的伴侶現在都不在身邊。在門口略帶尷尬到氣氛中兩人各自回屋

- Who is in the Scene?

葉生，蔣太

- Who/What is in control?

蔣太

- Who/What is at stake?

蔣太（猶豫要不要和葉生打招呼）

- Any shift in power?

shift: 蔣太—>葉生（葉生在樓梯刻意側生回頭跟蔣太說話）

葉生—>蔣太（蔣太發現葉生的種植用具後詢問葉生）

- Where are the "beats"?

關於各自伴侶不在身邊的對白；蔣太“葉生你對你太太真係體貼”的對白；蔣太入屋關門

- Director's initial treatment/request

第三場

- Time and Venue of the Scene 

同日黃昏，葉家廁所/蔣家客廳/蔣家睡房

- Motivation of the Scene

1.表現兩個人的寂寥，並且兩個人的孤獨和處境存在著關聯和共性。

2.展示兩人各自家裡面的環境，見到各自伴侶的生活痕跡。

3.兩個人都各懷心事，通過交叉剪輯讓觀眾覺得兩個人此時可能在想著對方，由兩人的寂寞引起觀眾對可能產生的曖昧關系的期待。但實際上是兩人所懷的心事有著很大的共同點。

4.為最後出現屍體埋下伏筆。

- What is the Scene About?

兩人各自回家後在房間裡各自做自己的事，但是都是孤單一人，頗為寂寥，又各懷心事。

- Who is in the Scene?

葉生，蔣太

- Who/What is in control?

葉生，蔣太

- Who/What is at stake?

- Any shift in power?

- Where are the "beats"?

蔣太抹鏡子時眼泛淚光

葉生在浴室聽到滴水聲後拉上浴簾

蔣太拿起相架時說的對白“志豪…而家得翻我一個，以後點算好？…”

- Director's initial treatment/request

第四場

- Time and Venue of the Scene 

兩日後晚上，樓梯間

- Motivation of the Scene

1.再次強調兩個人的寂寞，間接表示兩人對交流的需要

2.使觀眾順理成章的產生兩人會發生關系的想法

3.對白仍然強調兩人對對方伴侶的關心

- What is the Scene About?

寂寞的兩人在樓梯間相遇，兩人對話間提到各自的伴侶仍是不在身邊。葉生突然提出想和蔣太聊天，蔣太提出不如在外面找個地方聊天。

- Who is in the Scene?

葉生，蔣太

- Who/What is in control?

蔣太

- Who/What is at stake?

葉生，蔣太

- Any shift in power?

Shift:蔣太à葉生 （葉生在蔣太開鐵閘時叫停蔣太）

葉生à蔣太（蔣太不答話，低頭思考）

- Where are the "beats"?

蔣太上樓時，剛好碰到葉生開門出來

葉生在蔣太開鐵閘時叫停蔣太

蔣太說“不如我地出去傾啊”

- Director's initial treatment/request

第五場

- Time and Venue of the Scene 

夜晚，酒吧內

- Motivation of the Scene

1.情節和情緒上承接第3，4場，是劇情轉折前最後的鋪墊，同時也是情緒上的過渡位。

2.兩人一方面想要知道對方伴侶的信息，一方面兩人也都需要有一個可以聊天的對象。所以這場戲一方面是兩人互相試探，一方面也可以看到兩人會放松小小，略微親近一些。

- What is the Scene About?

葉生和蔣太到酒吧飲酒，聊天話題還是離不開自己的伴侶。兩人心情都並不好，但飲酒興致都不低。蔣太更是主動叫酒想要買醉。

- Who is in the Scene?

葉生，蔣太

- Who/What is in control?

葉生

- Who/What is at stake?

蔣太

- Any shift in power?

- Where are the "beats"?

葉生飲完杯中酒，問蔣太“你唔掛住佢架咩？”

蔣太對白“我地叫其它嘢飲羅！”

- Director's initial treatment/request

第六場

- Time and Venue of the Scene 

凌晨 酒店房內

- Motivation of the Scene

1.展示兩人行為的真正動機

2.暴露兩人的矛盾（各自的伴侶與對方的伴侶偷情），但可以看到兩人的沖突其實也正是因為兩人處境想同。

3.揭開兩人伴侶不在身邊的真實原因是因為已被殺

4.把情緒推向自殺，事件上呼應序章，氣氛上迎合第七場的空鏡。

- What is the Scene About?

蔣太酒醉後葉生帶他來到酒店，葉生欲打電話給蔣生，卻發現事有蹊蹺。蔣太錯將葉生當做蔣生，說出了兩人各自的伴侶偷情的事實。處境相同的兩人終於理解對方的真實心情和整件事的真相（伴侶已被殺）。兩人最終齊齊自殺。- ----Who is in the Scene?

葉生，蔣太

- Who/What is in control?

葉生，蔣太

- Who/What is at stake?

葉生，蔣太

- Any shift in power?

Shift: 葉生（找電話時）à蔣太（撒酒瘋時）à葉生（掌摑蔣太之後）

- Where are the "beats"?

房間內傳來另一個電話鈴聲;蔣太抓住葉生，“唔卑你走”；葉生掌摑蔣太；

葉生“我真係好愛好愛我老婆架！”；葉生和蔣太拆穿對方。

- Director's initial treatment/request

第七場

中午，葉家/蔣家大門

空镜

以上完成日期：2010年3月4日

東尼瀧谷

東尼瀧谷 2005

原著：村上春樹

導演：市川準

主演：尾形一成 宮澤理惠

攝影：広川泰士

美術：市田喜一

音樂：坂本龍一

電影介紹：

主角東尼因著一個西化的名字，從小像異類

般受排擠，他一個人長大，一個人上學，一個

人生活。他做了插畫師，一個人的世界如舊，

直至宮澤理惠出現，一個人才變兩個，但一

次巨變，卻打回原形。東尼瀧谷無法承受霎時

的孤獨，於是找來一個與妻子一模一樣的女生，

要她每天穿著亡妻的衣服給他看……

村上春樹描寫的是日本現代社會物質欲望膨脹下人的孤獨。導演市川准在將這種孤獨感傳譯到電影螢幕上時，借用了Edward Hopper的美術風格，導演在置景上巧妙利用框架來表現東尼瀧谷被孤寂牢牢抓住的感覺，幾乎在每一個東尼瀧谷出現的場景裡，都有著一扇向外開展的窗戶，藉由攝影機由左到右的推移，換過一個又一個的場景，但東尼瀧谷總是活在一個封閉的空間中，一種終究回歸孤獨的狀態裡。不過在顏色上，《東尼瀧谷》大多數時候都使用的是簡單的冷色調，即使是在描繪女主角的時候。

另外一個有趣的地方是，影片的攝影師広川泰士正職其實是一名圖片攝影師，《東尼朧谷》是他唯一一部執掌的電影作品。

広川泰士攝影作品 Babel 系列其中的一張：

《東尼瀧谷》的美術和攝影，曾想拿來做SYP01《殉情》的參考，不過由於劇本方向的變化，原本導演想要表現的“孤獨”情緒似乎不得不被“仇恨”的情緒所取代了。