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janusz sikora

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Everything posted by janusz sikora

  1. As they enter from the outside. Ambiance (-3) Key (+1)
  2. HMI is harsher... you are right. But this you know how to deal with. I had exactly the same uneasy feeling about quality of HMI light. It is the color... this mixture of Yellow Green in the skin tone... color of a dead body (hm) Once I started putting UV gel over the fixtures it improved tremendously. Some people say that added color correction eliminates UV leak... I found this not true... it still leaks. So I always use UV gel.
  3. From the story scene takes place in 1700s Philadelphia. Hot and humid summer night. I added touch of lavender to the exterior hoping this would help with it. General approach was to keep Int Ambiance well down for Low Key mood. Scene was lit for 360 so there are lights rigged from the top.. carefully, so as not to light the walls. On Static Two-Shot two 1K Fresnells did the Rim on the faces. Moonlight on window sheers was kept at Zone V (Incident). No Hard Lights... Rim plays with Opal. Pretty much lit for actors Block localizing crucial areas with "bubles" of light (all around TV style) and keying for candles motivativation. Ambiance was at 3 under and Keys at 1 over. Some color for Candle Flame. Hokums on the walls where the candelabras and paintings.
  4. Low Key Lighting. Part of the Scene lit for 360 Movement
  5. I shot 3 Perf Panavision few weeks ago. 16x9 ratio.
  6. Thanks Chris... I looked for this "exotic" Humid Summer Night feel, so I added touch of Lavender to the Exterior. It mixed with Interior Candle color and created this pinkish (magenta) ambiance. I guess we get lucky sometimes.
  7. Imagine a scene where somebody wakes up six feet under in the coffin (?!) You're not going to show a black screen with written exlamation as to what it is... GOT TO LIGHT! How..?... thats up to you.... I would definitely suggest Narrow Lighting Setup.
  8. I would consider Kinos... 4x4 around the place where the wall meets the ceiling and few from the top. This way you can utilize existing daylight. Blast some units off the wall to get the front. From the picture it looks like you should be ok with 12 of them. Have you tried ParaZip Kino.... ? Excellent Light.. You could Zip it from one side for dimension. If the ceiling can't hold the top lights an option may be few strings of 150W Photofloods.
  9. I would consider working my Noir with soft light (ouch!). Challenging but worthwhile because effect is beautifull. You could use Planes of soft light rather than hard overheads. Control it with Floppies
  10. Depending on the kind of silk they can cut up to one f-stop in the interior. 12x12 overhead will cut less just because you will have more ambiance. With 24x36 you will just bring light closer if it cuts too much. All in all silk cuts quite a lot. It becomes difficult in Low Key lighting when you work in tight spaces... it bounces a lot and contaminates your ambiance. In this case I use black silk which doesn't bounce much.
  11. Brad, I have Spectra for many years. Started when they were still analogue. Today I am using model Spestra Pro IV(Digital). I like it. You will not need to change battery for at least a Year. Very reliable. If you decide to get one contact me I will help you with good price.
  12. Christopher... You can utilize existing sunlight if you expose for its direct reading. This should render value of the highlight on the faces (Edge Light) at zone V/VI which is about the value of the Moonlite on the face when you try to simulate it. I would keep direction of the Sun at 3/4 Back as this will keep unlit bakground dark with your underexposure. Avoid Low Cam Angle as showing the sky will ruin your "Night". You can bounce 3/4 Back Sun into the faces in CU's and pick up bit of exposure. Just protect your Lens from that Sunlight. In this case I would color in Post.
  13. I'd agree with Jonathan... not much lighting per se... although whoever done it has some skills with natural light control working hard and soft bounces. Of course this is Lighting too. Music is fine.
  14. In refence to your experiencing an aura of being under "personal attack" (?)... just how would you describe the nature of your initial post... a "friendly remark"? Again... where do you see direct link to advertizing of Lighting Program (?) Film Look link refers to my my point of view regarding my belief that Lighting starts in one's mind rather then working it backwards (like it is often done by videographers without photography background)... you are welcomed to disagree with it. Afterall this is what Forum is about (I think). I like the way you speak "on behalf" of everybody in the forum. Regards. Film Look... those stereotyped words - we all know - is just a slogan. Film is Film and Video is Video. It is obvious than one can not make Orange out of Apple and/or vice versa. I propose, you come up with some new topic? I promise to engage if its interesting. My name is janusz sikora
  15. Looks like you've just satisfied your angry ego...(?) Where do you see direct link to Lighting Program in this Post?! I am not asking you to browse through the website looking for justifications to your preconceived statements
  16. As long as one lights within Video latitude one should be able to get the "Look". I still think it is about Lighting.
  17. I tried to achieve Dramatic Look in Video without help of Waveform and/or Video Monitor, using only Light Meter. Seeing it in one's mind constitues Film Lighting and, I think - first step in trying to create/achieve an illusive "Film Look" in Video. The only adjustments were those made to Master Gamma and Detail Control. After arriving with ASA Equivalent for Video Camera the scene was lit around preconcived F-stop with Motion Picture Light Meter Spectra. Highligths were kept in check the Old Fashion Way.... by Lighting. It appears, obtaining the so called "Film Look", entails getting ones' hands, mind and soul immersed in Light. Two detrimental factors to observe are Light Quality and Lighting Style. It can hardly happen with Camera Menu and/or camera screwdriver alone. Some things never change.... It is about Lighting. FILM LOOK
  18. Incident and Spot readings off the Grey Card should be the same. By the way... this is the only instance when they are the same (not including reading in total darkness)
  19. Professional, intensive hands-on with Camera and Light. Program is geared towards exploration of artistic potential of tools of cinematography: Lighting - Mood/Lighting Styles, Exposure - Previsualization/Zones, Camera - Movement/Operating/Dolly. "Dancing with Light" technique enables drawing upon one's imagination and materializing it on Film or Video. Uniqueness of the approach is that it combines Technical with Artistic in Cinematography aspiring to make contribution to student's sense of eloquence in Cinematic Expression. http://www.lightextreme.com
  20. Cinematography. Florence, Italy Fall 2007 Program is an unique undertaking in that it covers two fundamental aspects of Cinematography: 1. Light/Exposure/Camera 2. Processing/Telecine Our facility consists of Sound Stage Valina Studios and Film Processing Movie and Sound Laboratory which makes it possible to include in the program direct access to creative aspects of film processing that most educational institutions do not provide. The goal of the program is to have students engaged in process of advanced Lighting and Camera with possibility of manipulating of the Negative. Participants will have understanding of possibility that Film Processing and Telecine offers. Program is a Motion Picture version of Ansel Adam's theory of Previsualization... Ansel used to say "in-camera is only 50% of the Picture".
  21. http://lightextreme.com/wst_page5.html
  22. So what is wrong with nose shadow if it is only one ?
  23. Never say never... Best teacher of Lighting is life itself... Nature gives us ONE KEY SOURCE and you know what it is. Everything else is a BOUNCE. To disregard Bounce for its difficulty of control is a heresy. Light is a fluid energy... it leaks... You can continue "kicking hard" within your realm of imagination or... buy some galoshes and start getting wet with bounced light. What about Overcast... do you still Key hard... Even if you use one of so called Soft Lights... they are still directional to a great degree. Oh ... I am exhausted... I will retire now... till next.
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