MegaVision’s live Focus is one of the more convenient features of the T2. Live Focus allows the focussing of the digital image with a view camera directly on the CCD chip, avoiding the errors inherent in focussing on a groundglass and then replacing the groudglass with the CCD. Sometimes live Focus takes a little getting used to by first timers. The first thing you might want to do is take a look at the modeling light on the set. Visually evaluate the contrast. If the T2 focus image does not reasonably match your feeling of the contrast of the modeling light, make a Focus Black capture (Setup>Focus Black). The T2 software allows the correction (removal) of pattern noise in our focus image using the Focus Black feature.
Start the Focus Black capture by pulling down under Setup. Toward the bottom of the menu list you’ll find Focus Black; make its selection by clicking the mouse while the option is highlighted black. Follow the instructions that guide you through the Focus Black capture process, uncap the lens and click back into focus. You should see a focus image that more closely matches the contrast of the modeling light illuminating the scene.
Sharp focus is the goal. Evaluation of the focussed image can be difficult without an understanding of how to decide if the T2 is at its sharpest focus. Your easiest evaluation of focus will come from focussing on reflectances that describe curves rather than reflectances that render straight (exactly up & down or exactly left & right). Evaluate where you want to focus. If you are shooting a view camera, decide which plane you’d like to set for maximizing the depth of field. Zoom into the image, choosing a reflectance that has contrast and hopefully, some sort of image area that describes a curve. Depending on the size of the reflectance, you might want to zoom in a lot or a little. When you turn the focus knob you’ll want to make the focus image along the curve stair-step sharply. To avoid a jerky response to the focus procedure, focus slowly. When you have decided on a focus, check your results by making a Meter capture. Zoom into the area you are looking to focus. Find a vertical transition where a solid reflectance abuts another solid reflectance. If the transition between these two reflectances takes place over 5 pixels or less, it’s sharp. It might help to remember that each pixel is 15 microns or 15 millionths of a meter, not a large measurement value. This 5 pixel tolerance is valid for up to 150 line screens.
You may want to use an interesting tool that will help with focussing. It’s black 16-24 point type on white paper. Place it in the scene and use it for focussing on. Tear it into small pieces, strategically place it at key positions in your image. Use it in strips or sheets to describe the plane you’re looking to focus on when planning a tilt, a swing, or both. By the way, this works great for focus accuracy when shooting film, too, especially when working with slower lenses or marginal modeling lights. After you focus, shoot the meter capture and check the type for sharpness. Adjust focus as necessary. Pull out the focussing aids when you’re ready to make the final capture.
Try using Box and Overlay when planning a shot. Use these features to maximize the use of the image area. Box allows the entering of values that display the proportion of the image area you’re looking to fill. Measure the layout for height and width, enter the values into the Crop dialog box, click and drag the proportioned box to your desired position within the Focus field and save the Box by choosing Save. After choosing Focus, click the Box option in the tool bar at the right of the Photoshoot interface. Note the pre-proportioned box in the live Focus field. This allows you to push product around the set, within the proportion, while looking at the monitor; allowing rapid and accurate placement of objects relative to the image area you have to work with. The same is true of Overlay. Overlay allows the display of text and graphic elements in Focus mode. Placement of objects (and their drop shadows) relative to these text and graphic elements is easy with Overlay.
Displaying Range Colors in Focus mode can help rough-in lighting. Make a meter capture and visually note the dispersion of colors. Note especially the high values, and how they transition. Place the camera into Focus, click Range from the -------- box, and adjust the aperture until the focus range colors approximate the meter capture. You can now walk over to the set and adjust the placement and position of individual light heads while you evaluate the effect, using the range colors displayed on the monitor. This is a very handy feature for customizing stylized lighting effects. If for example, you wanted a semi-circular glow on a background and you wanted a specific size and brightness, you can display it in Focus as a color. If you had a dark blue seamless and you wanted a warm, yellow glow behind the product table, say around a Zone 6 brightness, you could go to Setup>Range. There, you could modify the green range color so that it displayed Zone 5.5 to Zone 6.5. Then in Focus, you could point the strobe head toward the blue seamless, changing its direction and distance relative to the background until the green semicircle described the size and shape you had in mind. Lock down the head on its stand and you’re very close. Verify your work by making a Meter or RGB capture.