DV101: The Carnet Chronicles: Intelligence on International Production

This month’s DV101 will deviate from my normal technological diatribes into logistics. I’m currently producing and directing a reality show called My Hollywood about kids pursuing their dreams to break into show business. The major leg of home visits for this show has me on the road for 25 days from Alberta, Canada, to Manhattan, Pennsylvania, Ohio, Tennessee and Florida.


DV101: Making the Invisible Visible: Understanding Ultraviolet and Looking at Black “Light”

In recent columns I’ve discussed how infrared radiation affects digital sensors and showed how to combat IR contamination with specialty filters. This month we’ll jump elsewhere on the electromagnetic spectrum and talk about ultraviolet radiation, UV. It gets its name from the fact that the UV spectrum consists of electromagnetic waves with frequencies higher than those we identify as the color violet. These frequencies are invisible to humans but visible to a number of insects, birds and fish.

DV101: Filtration Situation: Investigating Infrared-Cutting Filters for ARRI's Alexa

Last month in DV101, I examined the issue of infrared contamination. I discussed the problems of IR radiation with digital cameras, especially when light is severely attenuated with neutral density filters. A couple months ago I spent a day at CamTec Motion Picture Cameras with cinematographers Christopher Probst, Phil Holland and Jesse Brunt to test a number of infrared-cutting filters on both the RED EPIC and the ARRI Alexa. Last month I shared the results of tests with the RED EPIC; this month we’ll revisit that test and see how our filters worked on the Alexa.

Filters Tested


DV101: Making the Invisible Visible: Understanding Infrared Filtration

Let’s take a brief trip back to high school science class and revisit the electromagnetic spectrum. Sound waves, radio waves and gamma waves represent specific frequencies in the electromagnetic spectrum, the range of all frequencies of electromagnetic radiation. The spectrum includes wavelengths from 1 angstrom (one ten-billionth of a meter, or one-tenth of a nanometer) all the way up to AM radio at 100 meters in length and beyond.


DV101: From WYSIWYG to Waveform Monitors: The Evolving Tools for Digital Exposure, Part I

Back in my day (yes, you can visualize me sitting in a rocking chair with a smoldering pipe in one hand and an afghan on my lap, peering out at you over the tops of half-moon spectacles, if you so wish) the light meter was a cinematographer’s best friend: a primary tool and an invaluable asset. Although there were exceptions—the late Douglas Slocombe, ASC, BSC, could famously call out the exposure based only on looking at the scene—they were extremely rare. Even the most experienced and revered cinematographers used a light meter to evaluate the exposure levels of their scenes.


DV101: Atmospheric Conditions: Using Smoke and Fog for Your Shoot

When you mention smoke or fog, most people conjure up images of a misty, creepy cemetery at night, with fog crawling along the ground like the undead, or of black smoke billowing out the windows of a burning house. These are practical special effects, generally. Fog can be your friend, however, as it adds atmosphere to photography and defines light in a unique way.


DV101: Detailed Definition: Evolution of the Term 'Resolution'

Resolution is a term that is thrown around with reckless abandon like mashed potatoes at a food fight. Unfortunately, it’s a term that is rarely used properly.

The higher the number of samples taken, the more accurate the digital representation of the original subject.

DV101 - Log In and Learn: Continuing Your Education Online

I have always been a strong proponent of teaching and sharing, especially with aspiring filmmakers.


DV101: Looking at Lenses: Considerations for Each Camera (and Camera Operator)

Today, with the prevalence of large single-sensor cameras, the number of lens options for the HD shooter has increased exponentially. Not every lens will work with every camera, however. In a previous DV101 column I discussed crop factors, utilizing lenses designed for larger target (sensor) areas on smaller targets, and the changes in apparent focal length/field of view.

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