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Adrian Sierkowski

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About Adrian Sierkowski

  • Birthday 09/03/1983

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  • Occupation
    Cinematographer
  • Location
    Los Angeles, Ca

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    http://www.adriansierkowski.com

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  1. Having seen Dune in theaters, and remembering that scene in particular, the posts here are not really representative of how that looked in the proper viewing environment. Chernobyl, however, yes, was a little dark at times. It's got nothing on game of thrones, of course. Maybe it's a HBO thing. As for in camera or in post. Expose as close to the final look as you are able to. If you want it dark, expose it dark. Be mindful of where you have light, and use the exposure tools you have. Also maintain consistency. I find that is really key-- if you are doing your night at (insert iso here) and (insert stops under here) at (such and such color temp) don't suddenly do a shot, or scene, different than that. Also it's really important to keep in mind where the intention of view is. A show to be see in theaters, on netflix, or on my laptop are 3 completely different worlds of exposure (and framing!)
  2. Hey Will: The issue with dimming will be the change in color temperture of all of your tungsten units. Maybe that works, though? Perhaps the cheat is to use the 2 daylight fixtures as constant "skylight" (with perhaps a slight dim up when the "sun" is behind a cloud) and a dimming down of the tungsten fixtures creating the sun-beam and to hell with the color temp change (honestly it might not matter, depending on the style you're working with) Not knowing what you have at your disposal, this is a very easy effect to program into something like blackout and send through DMX. I also wouldn't shoot it at night, but I would probably cover the window with a solid topper to keep the real direct sunlight out and bounce the daylight fixtures into something like an ultrabounce.
  3. You're paying for the reliability, and the better QC. It is a thing that needs to be made of the best bits, so there is waste that you pay for. It's the same reason an Alexa35 is more than a BlackMagic 4.6K. They both have similar specs, but the Alexa is going to be a hell of a lot better engineered, tested, and have tighter QC.
  4. If you're diffusing then you won't really ger the hard shadows. This sounds like a job for a Fresnel to me. I would probably look into 10Ks, honestly. If you are on a stage with proper distro, then they will be pretty cheap to rent. Warm is a function of your white balance, and whether you choose to color them with gel. Dinos would give you multiple shadows, and by the time you rent the multiple Pars and stand etc for them, you probable have spend more than the cost for a 10k, probably. I tend to think better to go with the BFL (Biggest F_______ Light) you can get/afford/power as you can always reduce output of a light.
  5. Also if you want to play around, onyx and grand ma both have DMX programs you can download. But.... I... Yeah... They currently make no sense to me despite multiple hours of YouTube webinars
  6. https://www.capture.se/ The demo is free but limited to 90 minute sessions and you can't save. Works well with blackout but will read anything sending artnet or scan over the same network.
  7. Hey Ben Lighting designer can, I think, do, photometrics, but to be honest with you, a lot of that comes from experience. Lighting designer is more too show to producers what you need where, and when. And to help you visualize things. Especially as it's mostly to scale, so you can see how large an actual unit will be in a location. I think the (much more annoying) program called Capture has more realistic photometrics and camera stuff in it, but that is well beyond even my own modest wheelhouse. Having hated iPads for a long while-- now that I have one-- it really makes my work a lot easier and I don't think I could be as effective without it now.
  8. You are of course welcome to my Fuji if you need.
  9. Honenstly I think I would go with a menace arm/ Speedrail or a JR Boom. I feel the cost/benefit of a max mini just isn't really there. The Max will take the weight of the head and little snoot; it's 1/2 the rated working weight; but honestly it is something I would feel much more comfortable hanging a lite-mat on.
  10. I wonder if something with an electronic shutter might not be better as there are no real moving parts?
  11. The only type of light I could think of owning would be a light you use on every single set. Something specialized to you-- like a ring light, or obie type system. Maybe a set of titan tubes or Helios? or the odd Litemat. Many folks I know keep those smalls that can fit in a closer handy. In times past, something like a Kino Flo Car kit, (or currently the mini Litegear light sticks) were often owned by a Dp or a gaffer and then rented for a kit fee. Another very useful thing to have is an assortment of practical globes-- I really love these 11W 130V sign bulbs that render wonderfully in lamps. But big units-- no; no thank you. Personally the only light I have is a a single helios tube, which is generally use to test out my wireless DMX/FXs and stuff on a small scale, or for a work light. I might get something like a MC light pro kit (that has CRMX) or maybe some astera bulbs-- but again, nothing that couldn't fit in a Fiat 500....
  12. If you have an Ipad the program Lighting Designer (LD https://apps.apple.com/us/app/lighting-designer/id511366142) Can be very helpful in not only making up lists, but also in showing an overhead plot to producers. Some (not so great) examples from my own stuff. Also helpful to plot out DMX, when you get into that world. Also Apps such as SunPlan are vital on scouts to get solar positions for time and dates. If you want to start getting crazier, you can get into programs such as capture and a lighting console (I use blackout) to start doing rough previs for producers. With capture you can really start to get an idea of outputs at distances but I personally find it VERY annoying to work with. notoplight1.mp4 toplight.mp4
  13. You know it's times like this where I would consider using a respectable DSLR and renting an underwater housing for it; just incase. https://www.lensrentals.com/rent/ikelite-dl-housing-for-canon-eos-r5-mirrorless That's just an example, of course.
  14. Better safety nets and cheeses. Very important. Looks like we are going with Elation Monets for the FX. I messed around in Capture (not that I know what I'm doing) and the highers liked the look. notoplight1.mp4 And this is the very prelim lighting plot: (some things will probably change). Like loosing the Dynos for a 1200D through a 20x20 top that stills is providing for their work/ budget.
  15. I think the client would prefer the Rosco version over me robbing some Victorian spinsters household windows. Great find on the Rosco! (Hope you have been well my friend)
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