Guest Ken Maskrey Posted January 5, 2006 Share Posted January 5, 2006 I used a little maglight (one of the ones that takes one AAA) taped to the front of the lens so it'd reflect in both eyes but not show up as a source of light. I was pretty happy with that. I like the maglight trick...are there any others for getting the eye reflection? What about using those little lens lamps on the flexible cables for seeing the T#s...would those get me an eyelight reflection? Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted January 5, 2006 Premium Member Share Posted January 5, 2006 I like the maglight trick...are there any others for getting the eye reflection? What about using those little lens lamps on the flexible cables for seeing the T#s...would those get me an eyelight reflection? I did that once, outside at night. It worked fine for a little glint in the eye, but the AC wanted his lenslite back so he could see the barrel markings... Link to comment Share on other sites More sharing options...
Stuart Brereton Posted January 5, 2006 Share Posted January 5, 2006 the AC wanted his lenslite back so he could see the barrel markings... When I was doing Focus, I always used to insist on a 2k right next to the lens on night shoots. That way the lens markings were visible from 30 feet away and the lamp kept me nice and warm..... ;-) Link to comment Share on other sites More sharing options...
Premium Member Peter J DeCrescenzo Posted January 5, 2006 Premium Member Share Posted January 5, 2006 Hi Walter: Thank you for the additional information; it's very much appreciated! (Black & white is so nice!) :) Link to comment Share on other sites More sharing options...
Premium Member Stephen Williams Posted January 5, 2006 Premium Member Share Posted January 5, 2006 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) Hi, I did a shoot with a supermodel. The make up artist, hair stylist and nail artist all has agents! Stephen Link to comment Share on other sites More sharing options...
Premium Member Max Jacoby Posted January 6, 2006 Premium Member Share Posted January 6, 2006 These are from my last film 'Butterflies'. I did not light them, but operated. Link to comment Share on other sites More sharing options...
oscar jimenez Posted January 6, 2006 Share Posted January 6, 2006 Hi, great pics Audiris, can you give a brief over exposure on this ones if possible? All details welcomed please!!! like very much this set ups. Cheers Oscar Link to comment Share on other sites More sharing options...
Premium Member Paul Bruening Posted January 9, 2006 Premium Member Share Posted January 9, 2006 I like to set a 20K two feet from the subject for key, a 20K three feet away for fill and hang a 20K above and behind for top light about four feet way. With a fire extinguisher and frequent replacement of actors... I'm set to go. Link to comment Share on other sites More sharing options...
Johnny W. Ching Posted January 9, 2006 Share Posted January 9, 2006 Here's a still used for telecine reference on a recent music video. 2 1k Pars to simulate car headlights, and a 1k w/ chimera and 60degree eggcrate for a soft edge. Link to comment Share on other sites More sharing options...
Michael Morlan Posted January 10, 2006 Share Posted January 10, 2006 I like to set a 20K two feet from the subject for key, a 20K three feet away for fill and hang a 20K above and behind for top light about four feet way. With a fire extinguisher and frequent replacement of actors... I'm set to go. He he. You joke but a gaffer friend of mine was working on a Bollywood set and experienced just such a request. Apparently, the Indian D.P. had never worked with such large fixtures before and made a call for a 10k HMI about 10 feet from a child actor. Fortunately, our boy was able to advise his boss on the matter. :) Link to comment Share on other sites More sharing options...
Daniel Madsen Posted January 12, 2006 Share Posted January 12, 2006 Using the sun or another powerful souce to bring out the shadows cast on an interior by moving vehicals outside looks wonderful. The distance and spread of the light source causes the shadow to have a trailing effect. Creating a lot of movement in frame, it fits only certain circumstances. I am waiting to use this technique in a movie of my own... but next time your window shopping along a busy street look at the light play in the interiors. Oh I almost forgot....remove the lens off a big eye and have the grips suspend it from the ceiling. Afterward instruct the actor to place his/her face in the center.....just a magical helo effect. When I run out of adjectives I just call everything magical. Link to comment Share on other sites More sharing options...
Chris Fernando Posted January 12, 2006 Share Posted January 12, 2006 (edited) I like to set a 20K two feet from the subject for key, a 20K three feet away for fill and hang a 20K above and behind for top light about four feet way. With a fire extinguisher and frequent replacement of actors... I'm set to go. Paul, Maybe a Musco behind the camera - just for a little eyelight? Edited January 12, 2006 by CMPhern Link to comment Share on other sites More sharing options...
Sam Wells Posted January 13, 2006 Share Posted January 13, 2006 I like to set a 20K two feet from the subject for key, a 20K three feet away for fill and hang a 20K above and behind for top light about four feet way. With a fire extinguisher and frequent replacement of actors... I'm set to go. What's weird about that, it sounds like early 80's tabletop B) (closer to the truth than you might think....) -Sam Link to comment Share on other sites More sharing options...
Premium Member Stephen Williams Posted January 13, 2006 Premium Member Share Posted January 13, 2006 What's weird about that, it sounds like early 80's tabletop B) (closer to the truth than you might think....) -Sam Hi, 5247 and Photosonics 4ER! Stephen Link to comment Share on other sites More sharing options...
Matthew Parnell Posted January 18, 2006 Share Posted January 18, 2006 (edited) G'day Im pretty much a beginner at cinematography. Have been doing a little throught highschool, but have mainly only had the oportunity to do cutting. Just posting two setups here. Both shot with a 3-Chip Consumer Panasonic GS400 MiniDV camera, with a mixture of natural light and home depot styled floods. ^was having the kinda day that you shoot anything and just experiement, shot at about f1.7 @ 1/25, JPEG compression has done some weird things to this pic. ^decided to be a typical film student wank and letterbox this film to 2.35 because it was just a cool project to experiment with, i didnt notice the mirror till it was too late. this one was shot at about f4.0 @ 1/25 some feedback would be tops. Cheers. Edited January 18, 2006 by Matthew Parnell Link to comment Share on other sites More sharing options...
Premium Member Walter Graff Posted January 19, 2006 Premium Member Share Posted January 19, 2006 "JPEG compression has done some weird things to this pic." So has the image editing program you used to alter the fluid in the spoon. Link to comment Share on other sites More sharing options...
Matthew Parnell Posted January 19, 2006 Share Posted January 19, 2006 (edited) "JPEG compression has done some weird things to this pic." So has the image editing program you used to alter the fluid in the spoon. I didnt edit the fluid in the spoon. It is water in the spoon with the reflection of light through vertical blinds. The reason why the verticals dont appear straight in the reflection is a little thing called surface tention, which created a curved surface. Thought about doing it in a physics class on day when talking about water and optics. Cheers. Matt. Edited January 19, 2006 by Matthew Parnell Link to comment Share on other sites More sharing options...
John Hall Posted January 19, 2006 Share Posted January 19, 2006 That certainly an interesting reflection you've found. I'd consider trying to figure out what's causing that slightly cooler horizontal line running through the centre of the wavy vertical lines. If you could eliminate it it would make it much cleaner and more striking. Learning how to manipulate reflective surfaces is a valuable skill for any DoP. It's the basis for lighting cars and some product shooting. Try stretching a white material somewhere on the angle of incidence, and shinging a light into it. Move the light around and cut off parts of the light until you can create a reflection that you like. The second shot might benefit from having a bit more light on the foreground actor. Something to maybe bring maybe one or two features of her face into proper exposure (like the far side of your background talents face). If it fits into your scene, consider panning a couple lights through the windshield across your talents face to simulate headlights from cars driving by. This is a pitfall of the camera you're using, but the shallow depth of field means that both actors are held in relative focus and it can be a bit distracting as we don't know which one to concentrate on. Try opening up the iris as wide as you can (don't know what it is on your camera, maybe 2-2.8) and using Neutral Density filters (all the better if they're built into your camera) to compensate. That might help reduce the depth of field slightly. Link to comment Share on other sites More sharing options...
David Sweetman Posted February 7, 2006 Share Posted February 7, 2006 This is from a 10 second short, made out of boredom -- i just wanted to experiment with some chiaroscuro stuff. Used a single Home Depot open-face 500w / shot on Canon zr65 1ccd minidv Link to comment Share on other sites More sharing options...
F Bulgarelli Posted February 8, 2006 Share Posted February 8, 2006 Here are some shots from a short I did. We used the squishy lens from Clairmont to get those blurred borders. Link to comment Share on other sites More sharing options...
PappasArts Posted May 29, 2006 Share Posted May 29, 2006 This thread is awesome. Just found it, and have enjoyed reading all of it. Thanks! Pappas Michael Pappas Arrfilms@hotmail.com http://www.Myspace.com/PappasArts PappasArts & Arrfilms Main site XLH1 and HVX200 frame grabs and news here: http://www.pbase.com/Arrfilms http://www.PappasArts.com CONTACT VIA AOL INSTANT MESSENGER AT { PAPPASARTS2 } Link to comment Share on other sites More sharing options...
Miguel Bunster Posted May 30, 2006 Share Posted May 30, 2006 (edited) Hi, This are some digital stills (canon rebel xt) refrences for the printing of something shot on 5279. Really close look of the final pritn on vision. Well DOF was totalley different. The interiors were done with 2k open faces through 6*6 dif and gold gel adn the bounce/fill was done with a 3*3 piece of wood. I dont remeber all the expuseres because I did it by eye and just exposed or over exposed the key light by a stop or something. FG elements were backlight by midgtes. All that was shot in a classroom. just dressed it up for camera. The exterior was uncorrected tungsten. exposing for the outside. her is one more... on this link cant upload more images to the post... 3 5 6 7 Miguel Edited May 30, 2006 by Miguel Teitelboim Link to comment Share on other sites More sharing options...
Michael Morlan Posted June 1, 2006 Share Posted June 1, 2006 Miguel, Absolutely georgeous frames! :o Keep it up. Michael Link to comment Share on other sites More sharing options...
Miguel Bunster Posted June 2, 2006 Share Posted June 2, 2006 Thanks! I will telecine tomorrow the footage and post some images. Miguel Link to comment Share on other sites More sharing options...
Premium Member Bill Totolo Posted June 2, 2006 Premium Member Share Posted June 2, 2006 Link to comment Share on other sites More sharing options...
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