bolshevik

Hey All, I shot a short film on Canon C300 but the opening and closing of my film takes place on skype. I would like to do split screen and capture the feel of skype without having to actually use it with 3rd party plugins because I don't want to end up having to deal with weird frame rates and what have you.

Does anyone here have any ideas of how they would shoot this? GoPros? Fish eye lens on a DSLR? I'm looking for technical as well as creative advice.

Thanks!

Hello--

I am shooting an event in a couple of weeks and need advice. It will be a multimedia deal with multiple projections happening during the event so the overall lighting has to be very low. At the same time, I am charged with filming the people as they look at the art, interact with it at specific stations. How does one begin to light this kind of thing? Should I attach just a small light to my camera rig and light whoever I happen to be shooting? I don't want the lights I use to take away from the mood of the event or ruin the projections but at the same time I don't want a grainy, muddy result. Any advice?

Does anyone have a template or a sample of a real shotlist from a professional feature film. I know all the basics cu, mcu, ecu, ws etc...but I'd like to see a sample of something more comprehensive. like how would you abbreviate panning, raking, zooming, or even zollying in a shot list. and also, when youre covering a scene and say your master is shot 1a and maybe you go in for coverage and do a medium single but that medium single shot wouldnt begin until halfway into the master then is it 1aa or 1b? I've looked all over for a "real"shot list and cant find a thing...

hi to everybody,

 

As we know that sunrise and sunset color temp. is around 2000 degree kelvin .

 

What would be magic hours color temperature?

 

IN magic hours even don't have much light and how come one should read the temp. of magic hours??

 

advance thanx for all valuable answers

thanx,,

 

fincher

i think my professor told me something around 4200K

The way you say you interpreted the chart seems to be correct. If you read a range of 1'11" to infinity, then 6' to 7' shouldn't have been a problem. Though that range suggests a pretty wide angle lens and lots of light.

 

I just wonder if you misread the chart. Can you advise what lens (focal length) and aperture you used, for what format?

it was a 12 to 120 zoom zeiss on 16mm camera probably somewhere around 8/ 11 split/

How big are the lamps you're using? Is there any windows in the room? Film or video?

 

On the foggy morning I'd bounce the HMI lights in to the room. In this way I think you'll remake foggy light the best way. Maybe make this a bit cooler?

 

For the second set, I'd go for a direct light set-up. You could think about adding a 1/4 - 1/2 CTO on this to add some sense of a warmer setting sun.

 

For the tv set-up, you'd be better off just switching the tubes on the Kino's to 3200K. Full CTB will take almost all of your light. Specially from Kino's who have a very quick drop off.

i would liek to maybe use one 1200 par HMI coming through a large bay window. im shooting on 16 i dont know what stock yet.

By rating your film faster you would be under-exposing the actors and that's not a good idea in most situations.

Depends on the situation for either "normal" or slight over-exposure.

Can ypu be more specific of the setting, lightng, format, etc.?

[/quote

 

i meant rate my film slower. sorry. i would be exposing them normally. maybe at a 1:2 ratio with lighting come from a single source through a window.

i am sort of new to cinematography and im not too clear on how the depth field chart works or doesnt. i shot a film recently where the subjects move. in each shot i consulted my depth of field chart and figured out my focal distance, t stop, lens, etc and th chart basically would tell me that at x focal distance everything from say 1'11" to infinity would be in focus. so i thought that even though my subject would move from x focal distance to y focal distance, because both of those distances were between 1'11" and infinity I wouldnt have to rack and i could just keep my focal distance set to 6 feet even though the subject moves from 6 feet to 7 feet without racking. then when we got the footage back the subject went soft at 7 feet. i dont think i understand thos notion of depth of field chart,,,

what is the general concensus on people with darker skin tones? if i rate my film faster would that take care of it or should i calculate an 1/3 of a stop over on their face?

I would like to light a bedrom in three different ways on a soundstage using HMIs. In the first scene it's mid to late afternoon and in the second scene it is a foggy morning. what should i do to my lights to get these two effects? also there is a scene in the room at night when the only thing on is the tv and it illuminates the person in bed being illuminated by it. can i do this with kinos dimmers and ctbs or is there some better solution???

i just shot 7218 outside at night and it had excellent latitude. i used a 9.5, opened all the way up and pushed everything a stop. i only used available light.

use rosco gels. theyre more expensive but can take more heat than lee.

pls explain low key lighting and also provide some tips for setting the mood in horror genre.

there are so many ways to do horror. i'd watch some of argento's films for how to use color in horror and some old hitchcock and turneur's cat people for low key hard "edges" on shadows and shaping light in general.

i just telecined my super 16 film to digibeta. and made a dub to dv cam. the digibeta looks great. the dv cam sucks.

I think this post about sums up exactly what I mean.. You show yourself in your true light..

i was recently doing scratch tests on an arri sr 2 and saw black grease marks across the film. i tried cleaning out the mag where it goes out the feed side to the pressure plate but im not sure what it could be from and what an appropraite way to clean it would be....anyone have any ideas??

if youre a filmmaker you should own the cinematographer's field guide.

Hi guys i am a new director and about to go in to my first film production with a qualified DOP. I was woundering if you guys new a good website to swat up on different lenses and there effect on screen. just basically a crash course so i dont sound like a arse about lenses in fron of him.