Post one of your setups

[Dimitrios Koukas]

I would like to apologise for spamming the post here, I saw after that the theme was to put one set-up!!

My apologies

Dimitrios Koukas :(

[Dimitrios Koukas]

Still 3 was lit with a ringlight and two kickers. The kickers were a bit harder than I would have liked, but we were fighting an unmoveable deadline to wrap. A lot of nuances went out the window towards the end of that day!!!!

 

 

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Gj Stuart,

Really ellegant approach in the 3rd shot, well done, as for the kickers , they look good and add some ambient/ live style wich is great.

 

Dimitrios Koukas

[Tomas Koolhaas]

I really like the way you got the glasses on the bar to pop out without being obvious. How many seperate lights are backlighting them?

 

I'd forgotten about "Brett". What a laugh. Thanks for reminding me. I don't think that really counts toward you having been publicly dissed as he had no idea what he was talking about.

 

 

Tim,

I actually only used three lights of my own in this set-up, there were many small spotlight type bulbs in the cieling on dimmers which I dimmed down and covered with small pieces of 216, or duvatyn if they were hitting something I didn't want lit (eg the fill side of the womans face). I gave the woman, and the candles and glasses on the bar an edge with an arri 150 fresnel with 216 on it, her key came from under the bar were I used a 250w tungsten bulb through a 1/4 straw gel frame in a gattor grip w/socket, this was also dimmed and on a flicker-generator (to simulate candles). My only other light was a china ball with 250w tungsten bulb on the same flicker pattern/dimmer as her Key which was also under the bar close to the wall to bring the background of the bar to readable levels. As to your other question the answer is father and I have never yet known him to get steamroled by anyone, ever!, but his profession is a strange one which involves as much politics as creativity.

Cheers.

Tomas.

[Stephen Williams]

Here's some grabs from a recent promo shoot. Not yet graded, but will be, mostly for consistency.

 

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Hi,

 

Your a true Artist Stewart.

 

Stephen

[Guest JP Creatives]

These are still captures from a feature I shot this summer.

 

Fuji 8572

Zeiss Superspeeds

 

There were so many different set ups. So intead of one I am putting a bunch attatched. I can elaborate on them if anyone wants.

 

Thanks,

 

JP

[Guest JP Creatives]

For God's sake! I can't figure out how to make pics post so just go to link.

 

The Olympians Stills

 

If anyone knows how please let me know. I beg you.

 

JP

Edited September 25, 2005 by JP Creatives

[Dimitrios Koukas]

For God's sake! I can't figure out how to make pics post so just go to link.

 

The Olympians Stills

 

If anyone knows how please let me know.  I beg you.

 

JP

<{POST_SNAPBACK}>

 

Very nice, very nice.

To upload tyour photos u need first to upload em but then u have to press add in post.

Note that if u are a basic member u have little room for attachments, I believe is only 400k?

Dimitrios Koukas

[Guest david west]

very nice...

[Guest JP Creatives]

very nice...

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Thanks,

 

JP

[Mark Broadbent]

Hi all,

 

having been reading posts on this site for several months I thought it was about time I posted something.

 

Following grabs from a music video.

 

Super 16

7274

 

Car interiors lit with Kino MiniFlo

 

Studio with 1Ks rigged back edge and side of set. Kino tubes behind bottles in bar area. No added fill.

 

[Kris Carrillo]

jonathan,

 

very nice stuff. i like the first frame a lot. just curious what your set up was for that shot. what did you use to create that cool soft top light on her and the fridge?

 

 

mark,

 

looks great. did you have any correction done on the frames you posted? the reason i ask is because i think i see a little vignetting in the first frame, and i'm wondering if you added that in post. the second frame is gorgeous. good job.

 

kris

[Mark Broadbent]

looks great. did you have any correction done on the frames you posted? the reason i ask is because i think i see a little vignetting in the first frame, and i'm wondering if you added that in post. the second frame is gorgeous. good job.

 

kris

<{POST_SNAPBACK}>

 

Thanks Kris,

 

yes, the clip did have a fairly heavy grade done. Mainly crunched, greened blacks and a soft black vignette through some of the scenes.

 

Here is a link to a section of the clip - http://www.markbroadbent.com/video/Dont%20Call%20Demo.mov

 

Cheers,

 

Mark

[Guest JP Creatives]

jonathan,

 

very nice stuff. i like the first frame a lot. just curious what your set up was for that shot. what did you use to create that cool soft top light on her and the fridge?

mark,

 

<{POST_SNAPBACK}>

 

 

That shot was from Day 1 so I will do my best to recollect. Above her that glow is coming from corrected flourescents. They weren't even Kinos to save money, no flicker problem, but we did tests to make sure of this. I don't remember if we added 1/4 blue or if the bulbs were just cooler.

 

Creating that warm rim behind her hair is a practical that is further into the room and off frame. It was an old lamp that was at the house with amber colored glass we put maybe a 200w bulb in it. Very warm light. Those are about the only two lights hitting her I think. What I did with this location was light the entire bottom floor of the house 360 degrees to make sure for speedy consistent shooting. We shot about 7-10 pages in one day so this was basically necessity.

 

Thanks,

 

JP

[Jon Rosenbloom]

 

 

Wow, did this actually work?! I've wanted to post this for a while, as it's pure "movie magic." This is from a 10 minute film I did w/ some students at ... . The total budget for the film was about $1200. Anyway, it's mini-dv, just a DVX-100a, no filters. The main thing is, we did this shot shooting from the inside of a black-painted theatre through one of the side doors. The blown-out background consists of a piece of bleached-muslin I had saved from another shoot, which just barely covered the openning when stretched between two grip stands. Behind the muslin are a couple of tota lights, helping it blow-out. Between the girls and the muslin, on the floor and pointing up and toward the camera are two baby fresnels (one on either side of the doorway. And that's the entire setup; simple but effective.

 

Happy Holidays to all.

 

J...

[Phil Rhodes]

Hi,

 

Reading this thread is a very depressing expeience for me.

 

Rather like standing next to someone who's six inches taller than you at a urinal, the realisation that I'm quite this far out of my depth posting here leaves me emotionally... shrivelled?

 

Phil

[Jonathan Spear]

Phil,

 

Try to use this thread for motivation and ideas for your next project. I'm sure you're not the only one here who feels the way you do. It's not like you can't pull off cool shots.

[Jon Rosenbloom]

Is that a compliment?

[oscar jimenez]

The Hours is a masterpiece.

[Guest G . Stephen Bruno]

this thread is true motivation.

[Walter Graff]

What I like best about the examples in this thread is that no one is going overboard. The shots in the coffee house are a perfect example. Using what exists to make reality more real. Same with the sauna shot, two lights worked wonders. I always start everything with one fixture and if need be go to two, because it often seems that's the way most things work. I just finished producing something for clothing designer Anne Klein. I used one light and it wasn't even mine. It's a 100 watt bulb found in a still photographers flash bank. And after looking through the lens, I decided it was all I need to produce what I needed. It's all about motivation and that single lamp did what I needed. Some folks bring a bunch of lights to shoots and seem to need to set them up because they have them. But I have spent my life taking pictures in my mind of all sorts of situations I have been in so that when I am in the situation of needing to recreate it I can draw on it. Of all the shots in my head most of them are a single source. And in the end it mostly seems I need a lot less to create a lot more that way. Life is like that, and I don't think I want to upset the balance unless I want someone to think I lit something.

 

A few stills to show what a 100 watt light bulb can do:

 

 

 

And here is the whole video if you care to view

 

http://www.bluesky-web.com/akny-final.mov

[Hal Smith]

Quite a few of the posts in this thread refer to makeup, which is certainly the other side of the equation lighting faces. How does one find a good film makeup artist? Is it possible to take a competent cosmetic artist and "teach" them how what they need to know to adapt to film? A good book maybe? I've learned to light faces in live theatre without much, if any, makeup by using gel combinations with directional color contrasts but there I'm lighting for the human eye with its vast latitude and ability to "white balance" in real time. (Example: Rosco R34 (flesh pink) key with R03 (dark bastard amber) fill and some R18 (flame) backlight is very pretty on most women).

[Rolfe Klement]

"Editorial make up" (stills in modeling world) is very similar to film make up (except in the area of SFX and monster mash)

 

makeup is very important - I have done stuff where the make up artist made more than me - and I know of make up girls here in the UK who charge between £300 to £500 a day and there is NO negotiation - (I am also sure there are more expensive ones out there)

 

As with everything the good ones are expensive - the upcoming ones are busy

 

To answer your question I think good make up takes time to learn (same as cinematography) but along with talent and art direction are the most important elements on set - so it is money well spent

 

thanks

 

Rolfe

[Peter J DeCrescenzo]

... I just finished producing something for clothing designer Anne Klein. I used one light and it wasn't even mine. It's a 100 watt bulb found in a still photographers flash bank. ... And here is the whole video if you care to view:

http://www.bluesky-web.com/akny-final.mov

Hi Walter: Thanks for sharing that example; looks great! Kudos to you and your client for valuing a simple, clean, yet sophisticated look -- and in B&W no less!

 

Was this a situation where you "worked around" the still photographer's lighting and session workflow? If so, I believe this is similar to another shoot you recently did; I believe the model was featuring blue jeans?

 

I'm also curious to know which camcorder you shot with, such as 1/3" DV or "larger" imager/format, which cam model, and was the decision to use B&W made before or after shooting? Also: What will be the primary delivery mode/environment for this piece, such as broadcast, point-of-sale, internal marketing, internet, and so forth?

Edited January 3, 2006 by Peter DeCrescenzo

[Hal Smith]

"Editorial make up" (stills in modeling world) is very similar to film make up (except in the area of SFX and monster mash)

 

Rolfe,

 

Thank you, knowing that fashion still photography makeup requirements are close to film ones is IMMENSELY helpful to me. Beauty pagents are a big business out here in the Oklahoma back country and their still photography makeup designs should be pretty close to fashion photography ones. I've got a pro photographer acquaintance who I'll bet knows at least one quality makeup artist working on pagents. They won't be cheap, no person who's competent in their craft is, but at least they'll be HERE!

 

 

I love these forums - one post and I get an authoritative answer. Film-making is a collaborative business and that really shows in the help that flows back and forth in the forums. Makes it very easy for me to take my daily "humble" pill and accept that this is a very rich and deep business and not knowing it all is our common condition. Also explains why "know-it-alls" are very unpopular on sets.

[Walter Graff]

> Was this a situation where you "worked around" the still photographer's

> lighting and session workflow?

 

Yes it is a workaround in a sense but also a solution in another. I could set up what I want and shoot in between but I like the behind the scenes look combined with beauty shots and since the guy has a light set up that is diffuse and does the trick, I use it.

 

 

>If so, I believe this is similar to

> another shoot you recently did; I believe the model was featuring blue

> jeans?

 

Yes. I do lots of fashion and love this look.

 

 

> I'm also curious to know which camcorder you shot with, such as 1/3" DV

> or "larger" imager/format, which cam model,

 

I rarely ever use a 1/3 inch camera unless I want to write an article on something a need a real world example to demonstrate the article or I need a certain look, or I need a very small camera for a particular shot. In my circle 2/3 inch is the norm and minimum in any format. You are looking at down converted Varicam in the clip. Sometimes I shoot Beta, DV, HD, it depends on what it is for and how I feel that day.

 

> and was the decision to use

> B&W made before or after shooting?

 

In this case, before. This was to match the print campaign which is BW

 

> Also: What will be the primary delivery mode/environment for this

> piece, such as broadcast, point-of-sale, AKNY internal marketing,

> internet, and so forth?

 

This will play in the AK main showroom on LCD monitors. It will be looped on a DVD for that purpose. I save little using HD for it, but that was the only camera I had that day as my SD cameras were out so used it.

 

 

As for makeup, it is very important. Makeup cleans up the edges on people. Too much and they look overdone (but you might want that), and none and they can look raw, which might be the desired effect too. Luckily in this case I am working with one of the worlds big models and she has a team of hair and makeup that make my job easy. But I should also add that theses days in the still world, they actually don't do as much with makeup as they did in years past in many cases. Since so much of the finished product is retouched, they don't lock themselves into anything with makeup. And sometimes they are actually going for a more real, raw look and do very little with makeup. Some days I work with models with big shaving cuts on their legs and face, huge zits and all sorts of other things that no one worries about because it all gets brushed out. It's sort of like an analogy to shooting video. I do as much as I can in camera but know that post production offers me a lot of additional options. In this case if I showed you the raw footage you would have seen that I was white balanced for 3200k and the light was about 24 making her very orange but did not care as color was not an option.