janusz sikora

Check this site for available/exterior light control... http://www.sunbounce-usa.com/awesome_home.html

Here is about application of light meter in video... http://lightextreme.com/wst_page5.html

Adrian..., Again... "95%" of the quality of photographic image is in Light, Lighting Style and Exposure. If your Light is not there then there is no lens in the world that will make it better. If you want to minimize granularity of film in your image you need to light for it... This means the more light the better as more light shifts your Middle Grey towards the middle of Straight Line portion of the curve and away from the Tow. This assures separation between tones... Lets put it this way... If you want Black to be Black you need to light it rather than leaving it unlit hoping for F-1.0 to give it to you... because that will make your Black as grainy grey. Speeds or not Speeds ... "Its about Light"

I guarantee you... not untill you know about Light you will see any difference between lenses. Grain you control with light rather than Lens.

Working with Superspeeds fast F-stops also presents an overall issue of the quality of photographic image.... Working with very low (wide open ) F-stops shifts your exposure close to within Tow portion of the curve. That means less separation!!! But shooting Low Budget ... go for it !

The concept of Negative Fill is not to only prevent the light from falling on the subject but also to have the black surface reflect in the subject (face) thus creating/intensifying Lighting Ratio. :o

So many incredible artists, but if I were to name the few that influance me... Sven Nykvist - for his Soft Light Treatment Storaro - for his symbolic use of Color Gianni di Venanzo - for his "stream of conciousness" style Craig Tolland - for his gambling with Light Nestor almendros - for his Natural Light treatment :o Its about Light

Humbly personal opinion... I believe American Universities tend to teach Formula Filmmaking... This pertains in particular to script writing. Styles of Tarkovsky, Kieslowski, Passolini, Fellini etc do not lend themselvs to formula filmmaking at all... For people with established Thinking Modus Operandi best choice it to do some workshops in filmmaking and to use saved money to shoot their first feature film.

White Room Locations are the most challenging situations in particular when they are small. Size is a detrimental factor in that it limits ones approach to few specific lighting setups. Broad Lighting Setup becomes very difficult unless the size of location is big enough to enable you to capitalize on light falloff as to prevent it from hitting the walls. Normally I use narrow lighting setup where my keys are Side and/or 3/4 in relation to camera position so the walls remain unlit. Generally it is easier to deal with White Room working with hard lights since there is much more control over them as compared with soft lighting. "its abought Light" jansik http://www.lightextreme.com

Just like Bob said... I wouldnt worry too much about Depth of Field with church budget. Looks like you have enough ligt to work average F2. Treat existing daylight as Key and Fill in with bounces. Lanterns, if you hung them on the shadow side should give you enough Fill. Of course your Daylight windows will Go, but that is fine... you can soften that harsh look with 1/4 Promist on the lens. On dolly shot you can have Bounceboard mounted on dolly behind and over the camera. Expose so you keep the fill side 1/2 under and you will be OK.

Its more about lighting than the film stock. Light Soft.... Bounces and Soft Boxes. http://www.lightextreme.com

This question is really something else...

Candle Light There are four lights here... - 1K Fresnell - candle light - 1K Fresnell - Backlight - 1K fresnell - Background - 1K Fresnell Bounced - Ambiance In any lighting situation where you would want to create a Mood with lights, an important consideration is the level of Ambiance. In my opinion this element of lighting is of primary importance as it sets up first impression about the mood of the scene. Next consideration is the Lighting Style where you can chose from wide range of possibilities relating to Broad versus Narrow Lighting Setups. http://www.lightextreme.com

You never say if your location has any daylight coming in...? If yes, then you could just go straight tungsten without 85. If this is all tungsten, then you could use one of lighter Kodak Wratten CC filters on the lens... like Blue CC-10B or - if you want cold look - Cyan - CC10C. I think that for what you want going with Wratten on the lens is a better choice than filering lights... faster, cleaner, less expensive and better looking since color on the lens impairs that color to overall image whereas filtering lights would create localized patches. If you find yourself being short on light shoot straight tungsten and do color in telecine (but then it is not yours)

Single Light source. Important considerations are: - Quality of light (candle is a hard light) - Vertcal and Horizontal Angle (approximating position of candle) - Highlight Value on the face (it seldom excedes Zone V) http://www.lightextreme.com

The water itself should bounce the light nicely. I once bounced of the pool water surface alone and it looked great.

The only time I will take stills is of the location before actual shooting. It helps me contemplating my lighting approach. Stills during the production.... I see no use for it... whats done is done... You can have telecine wizards do many things for you... but then whose job is it anyway...?!

Ballon is an ideal source for your ambiance. It can be 3200K or 5600K. It can be as small as 2K Tungsten which you can use in medium size interiors. By the way... they do not need to be Hellium if you dont need them to fly. http://www.airstar-light.net

You can use the same lighting setup for Day and Night except that you should bring up your ambiance in Day Look. There seems to be a Lighting Logic issue in your approach though.... If in the Master your ambiance is two stops under- walls - , and your key 1/2 over with F4 on the lens... than where you get 5.6 on Key and 2.8 on fill when actor is in the door... With the white door I can imagine how Flat is the Look. For any Low Key situation it is crucial that you light Narrowly and dont let any spills to occur. jotes ITS ABOUT LIGHT

This is how you can get a Look on No Budget situation... Do not coveer the windows - Stretch black nylon stocking over the lens to soften the image - Balance your camera to Tugsten - Set your F-sto to reuired level as looking through viewfinder - Use one light from window direction with blue gel on it for directional moonlight make sure your moonlight light creates a narrow shaft of light rather then going broadly http://www.lightextreme.com/

Half CTB converts to only 3700K... Mixed on the face with twice as strong Tungsten Key it becomes the most 3400K and this is Tungsten. jotes LET THERE BE LIGHT

Fluorescents are Pain... Never neutral color and a nonsense comparing how much time and money you have to spend to get little bit of funky light. Just switch them off... go daylight with 85 on the lens and CTB on Tungsten. jotes ITS ABOUT LIGHT

Dear Ashim... As a friend from community... I say STOP! Turn around and go with the LIGHT. Try not to think about camera screwdriver and/or the Post. Welcome the Light into the realm of your visual perception. Set your camera to facory defaults and light. http://lightextreme.com/wst_page5.html jotes

:o If you want Cold and Muted look then surely going with the sun will not do. You could shoot in the shade making sure direct sun does not illuminate your bacground. Adding light degree of Wratten Cyan would make it look coder. :o

Andrea... There is no such thing as "this lighting instrument for this look"... It is about Light Control.... Light is like clay... you work it untill you get it at the consistency you want it to be... You work it using Light Accessories: Bounce, Nets, Silks, Diffusions, Reflections etc.... You start with an image in your Heart and Mind that should tell you what Light Quality suits your particular Mood... and than you "work it". Look in nature.... there is One Light Source, and look at infinite qualities resulting from it...? janusz :o