Matt Workman

I can pretty much stand Miss Aguilera any day of the week, thank you very much. :lol: Ringlight does make sense, I used a 17" LED one from Bexler a while ago, but it wasn't as pretty as I'd hope. I probably just needed to add more diffusion. Ahh yes, spacelights, that would be very clever. I don't light that many big spaces. The one problem I've had with spacelights is that they can create hot spots right under them. I guess its a matter of placing them and figuring out what height. Thanks. With the space light as the base do you allow the light from the spacelights to hit the main foregrounded talent or flag it off and light them seperately? I know this is a theoretical qusetion but for something like the hangar? I was thinking about several blanket lights through silks, but that might be too expensive/tedious to rig. With big soft sources like that would it matter if I pointed them straight down as opposed to at a 45 degree angle?

Also several 5k skypans through silks and onto backdrops to fill in the reflections on the truck.

Hi, I've always wondered the specifics of these kinds of scenes. I might have a similiar style music video coming up and I'd like to go the bright/happy lighting route. Not a lot of back light or side light, as is the trend right now. I've taken HORRIBLE stills from youtube of the Christina Aguilera music video "Candy Man." http://www.youtube.com/watch?v=W4kR8OQCrlQ Diner Wide Hangar Dance Hall To get this kind of effect I'm assuming its either large sources like 20k/Brutes through softs, or a lot of Par/2ks with diffusion in rows with diffusion. The effect I suppose I'm looking to create is a shadowless-big-frontal source. I'm assuming the angle is 45 degree to subject to eliminate the nose shadow, but not so much as too create dark eye sockets. I also feel like there is some sort of frontal light for these wides and definitely for the close ups. Also it seems like the whole scene might be lit/exposed at key and then contrasted added and vignetting/power windowing down certain parts in post. Does anyone have experience lighting for this kind of sitiuation? I feel like its a very theatrical setup. Thanks, Matt

Here is a quick set photo from the shoot, some of you might recognize Studio H at Kaufman. TRUCK: 20x20 bleach mus with 10ks bounced into it 20k w/ 1/2 CTO Hard back/side light on truck TALENT: 6x6 Silk w/ 5k bounced into it top 5k through silk Key 2k through silk Fill 2k 1/2CTO Hard back/side light The results are far from "naturalistic." I think the key was to have really surounded the truck with a sky texture relfection. It worked fine for the shot we were doing however. Matt

Wow that is a pretty bad-ass looking short film. Anyway, I like the colors at the poker table a lot. That purple is pretty cool, can you post any footage yet? Looks like you had some atmosphere as well? How exactly did you expose the greyscale to communicate you wanted the purple to be left in? Not that it worked with that lab. Did you expose for it under normal tungsten and then continue to shoot with the purple? My experience talking with labs about specifics in color is very slim. I'm used to P2 shoots where I can load them into final cut and do a rough color correct on set, so the "colorist" has the settings already roughed in so systems like SpeedGrade are very interesting to me. Have you used Speed Grade OnSet yet? For a film shoot I assume you are relying on RAW photos from a DSLR? For Viper/D20 it sounds like you take stills from the actual footage. I'm very interested in trying this method. Do you know what labs support .look? They say you can export .lut for other systems, I somehow doubt it is that simple. Thanks for sharing. Matt

I feel like a color temp meter could solve this problem, too bad I don't own one :(

Small world. The stills look really great. Very impressed. Are you going to be able to post some footage also?

Yeah I wasn't thinking, change that to an INT Night club, same talent from the beach. It was mentioned that this film stock will be better for scanning. Which reminded me of the KODAK VISION2 HD Color Scan Film 5299 / 7299, I've never used/heard of anyone using this. Is the VIII a step in that direction?

Hey, Found this on videostatic.com I've been interested in seeing some D20 footage and I figured that other would be interested too. Video http://streetgangfilms.com/mv/blasts/tombaxter/qt.htm Behind the Scenes http://video.music.yahoo.com/up/music/musi...x%3D24%26y%3D13 Its mainly a white cyc setup so not the best indication of the the camera's abilities but still interesting. Matt

Great stuff. Thanks. :ph34r:

that promo was kind of weak, no exterior ... personally I would have gone with girls at a beach instead of sweaty dudes in a gym <_<

I recommended getting various maxi's, but the DP was more keen on a having 10ks/5ks. I recommended bleached muslin for the skylight. We are shooting Varicam (320 asa-ish) clean look, for an industrial/corporate. The backdrop we are going to try to push over 1 stop I'd assume and keep it out of focus. So shooting wide open (t2.4-2.6) for most of it. The 20k is going to be coming through the windshield, and fill in the front at the same level as the 20x overhead. My default setup is to kind of surround the truck with silks with 10ks/5ks coming through them and fill in the spaces with blacks. We are trying to light as wide as possible depending on what the agency is looking for. The 5k is probably too small. Maybe we'll play with a hard 20k look first if we have time. Just move the 12x12 in and out. I'm really looking to keep some sort of hard motivated "sun" source and then fill in like crazy with soft sources. Thanks for the response/questions.

Hey, I'm gaffing a commercial on Monday that is in a 100'x90'x30' studio. The shot is of truck (the one that pulls an 18 wheeler) and its supposed to be outside. The shot is from the side of the truck of someone talking, not driving. We are shooting all tungsten. So far the rough plan (still being developed) is to: - 20x12 "outdoor" backdrop (lit by 5k skypans) - fly a 20x20 bleach muslin above the truck and bounce some 10k/5k into it. - 20k far far back through a 10x10 silk - 5k with chimera for fill - 5k hard for sun hit - some dedos snooted for accents - kino barfly or car kit for interior of cab We also have an army of solids and duv to clean up reflections in the VERY shiny truck. I suggested also having another "outdoor" backdrop on the camera side for the reflections to pickup on. I feel like a lot of the effect is on the art department but we want to do everything possible to help sell the effect with lighting. The only big studio daylight setup I saw was on D.Mullen's post a while back with spacelights and a dino. Our set isn't that big so we didn't go that route. But any suggestions would be appreciated. I'll post pics of the setup if they let me. :ph34r: Cheers, Matt

Really enjoying reading your posts. Thanks. :lol:

Hey, I am looking for a G/E house in Miama, FL that rents Briese equipment. I haven't been able to find any through Production Hub or Google. Wondering if any one has rented them down there before. 12k HMI's would always work I guess. Thanks, Matt

LOL. Come on, this is the director of 28 Days later, I'm sure he was partial for monster in the script from the start.

I just saw the film today. The opening shots of Harry in the fields and the 2.35 always make for some sexy shots IMO. However I believe the color grade shift from Straw Sunset to Berlin Contrasty drew attention to itself. Also the dolly/jib or steadicam shots in the beginning were pretty edgy for that scene. I liked em though. :rolleyes: I agree that the street scene proceeding the dementor attack was over graded. It looked like they lit the scene with HMI's then graded the full blue to green/yellow. It played out a little muddy for me. I really like the blue/green they use for the fantasical moonlight in the scenes. Its a very simliar hue to 8 mile. I want to start using this color on some of my night stuff. Also their candle scenes always feel good to me. Well motivated, color temp matched, etc. The CG extension work I thought was more obvious in this film, especially in the bridge scenes. Also the school EXT courtyard didn't feel very natural this time around, very "set like." The last film in the winter scenes it felt very real. I also noticed the wide shots beeing a little soft, like when we are birds eye view of Harry. I still love the Harry Potter movies and will see the next ones. :ph34r:

Other Non Cine- Questions: -They focused on the eyes watching the sun so much in the beginning and then did nothing with it. I thought that they were getting high off direct sunlight or something. -The pysch officer starts getting a sun burn from watching it so much but then he just dies. I thought for sure he was going to go crazy. -Also I wanted to know more about what happened to the crew? Their captain just went nuts? -Why does Mace flip out in the beginning if he turns out to be so heroic. Why does he think that waves crashing and girls screaming is peaceful? Cine - Comments: I was really excited to see what the lighting would look like when the crazy captain turned off all the lights. I was pretty impressed with the results except that they kept adding all this interferance type CG stuff to the edits. The hero shot of Cassie hiding was a clear tribute to horror films with the vertical slash of light on her face. In the final scene where they are falling all over the place in the bomb room, did your version have 1/2 second freeze frames on the characters face? I thought this was a projection error at first, but then it happened several times.

Just saw the movie last night. I think most of my judgements about the plot have been said already but in general I didn't really connect with the main characters. It reminded me of "Cube" and "Event Horizon." Being Asian-American I inevitably have to ask what the filmmaker is doing when casting three Asian actors in a film (all of which meet some clever sunshiny death). My friend mentioned that this director is marketing to the UK, Asia, and the USA so the casting may address that fact. The captain (who dies in the first act) is pretty noble and the navigation engineer is the overacheiving scholar. Neither of these characters really bothered me. Michelle Yeoh however in her final scene is shown in a yoga position holding her dying bud. I was a little annoyed with this, unless it was meant to be funny. I was expecting a crouching tiger tribute fight scene, not a stab in the back. On a more cinematography related note I really loved the dolly/jib/tango shots. The best one was when the Capa must make his last stand and finish the detonation sequence. Can anyone elaborate on how the tilt lense effects were accomplished? This is first seen when the initial warning lights come on and a high angle shot of everyone running is being slowly distorted. Is this the Hawk Anamorphics? I'm not really familiar with these lenses. I kind of assumed a lot of this stuff was done in post. I'd be really interested in seeing the "sunshine" rig in ASC or something also. I was wondering how they were getting that monster rim light on the observation deck. Besides amazing production design I'm sure there were some pretty complex composite/set extensions/cgi replacement tricks going on that I completely took for real. This seems like the compliment of "Perfume" where the DP is really playing with the extremes of the dark. Here they are playing with the extremes of overexposure. I would be down to do this with HD but film I would play it safe and push the rest in the DI. Maybe they did a lot of testing first to find out the tolerance of the overexposure. Cheers :ph34r: Matt

Selling to NYC Area: Lee 1200w HMI Fresnel w/ Junior Stand, barndoors, electronic ballast, 2x 1200w bulbs Lee 575w HMI Fresnel w/ Junior Stand, barndoors, electronic ballast, no bulb Both lights function properly and are very rugged. Pictures on request. $1,500 for Full Kit or $900 for 1.2k HMI and $800 for 575w HMI. http://newyork.craigslist.org/brk/pho/373784568.html Cheers, Matt

The Making of "Hip Hop Lives" by KRS-ONE and feat. Marley Marl, Director: Todd Angkasuwan Set Photography and Design: Diana Levine This is a softcover book of set photos from behind the scenes at the KRS-ONE "Hip Hop Lives" music video shot in LA. If you are a hip hop head or a music video lover there are some great photos of the set, the artists, the crew, the actors, and of course KRS-ONE himself. Available online @ http://www.lulu.com/content/921234 Cheers, Matt

Hey, I was wondering what you guys thought was used to make the kino stick to the ceiliing in this photo. http://www.kinoflo.com/Product%20Uses/Film...ision/1-8/7.htm I had been taking the bulbs out of the housing and taping them up, but this looks much faster. My first thought was gaff tape, but I feel like that wouldn't hold. Thanks, Matt

Hey, I'm very familiar with the field of view for 35mm lenses but I've been shooting mostly on super16 and HD and I'm always scrambling to convert focal lengths. I own a Mark VB view finder which helps me convert but not always. <_< Can someone point me to a good focal length conversion chart? I'm mainly interested in 35mm/super16mm/HD 2/3" Thanks, Matt

Wow, David Claessen shoots bangers! Crazy music video reel! :ph34r: Joseph Labisi http://www.joelabisi.com/ Another killer MV DP. Cheers, Matt

You have the same first name also :lol: