Fredrik Backar FSF

Tja Farbror :-) No this is speaking strictly for straight printing. The twopass is however a good method when in scanner or telecine. Tnx F :-)

This is I guess a problem for all who have been working for a while but I´m hoping someone has some suggestions... In mid to close-ups it´s mostly a fair cup budgetwise to bring in som larger sources and/or reflectors to bring the sky down in contrast, but what about those "medium wide" shots where the object cuts the horizon line and taking away the chance to use a grad?? Getting definition in a really bright cloudy sky is really hard many times... Also, on productions where there is not even the chance of lighting in the CU´s and still wanting good texture in the sky? (also implying that the backlight doesn´t give enough to reflect back...) These things have come upon me a few times lately in the sunny cloudy Sweden and bug me alot!! Take care ya´ll! Fred. :)

It sounds to me like a very "swedish" do it your self situation... Becoming more and more usual here; work fast alone and with little money.... Idea: To venture further with David´s thought about practicals, if suitable for style maybe also the dancers light could eminate from in-shot practicals hanging from celing? Lamps with very narrow shades on for "pool making" Then just some bounce fill from floor? Dancers might even be lit with flourescent fixtures to distinguish from the judges? Anyway; these lights would be very energy efficient and lite and could be rigged with two smaller wind-ups with a Burton-pipe between them on some big bens... Junior booms are also nice for keeping lights out of shot. Sound like something? Fred.

The Loc-pro handles that thoguh.... but maybe it´s a costly thing to bring on a shoot?? Fred

Tja mannen! Va på inspeöning o glömde ringa tillbaka.... skickade meddelande via Rune dock. Hoppas han sa nåt? Ha de king så länge!! Ring om de e nåt såklart! Tjo!

Have a glance at the Chris Milk music videos for audioslave or kayne west. They both incorporate a multitude of formats and the feeling he delivers is amazing. the s-8 footage (please correct me if it is some other format!!) looks incredible!

1: Röjksopp 2: Björk 3: coldplay Did shoot two vids for this girl who hopefully will get som international acclaim soon. Like the music alot!! www.laleh.se (live tomorrow, invisible)

Did shot for feature a while ago where camera was rigged straight on hood with the "gripcontrol" large rig and tons of straps. Clad the inside of the dash with tin foile for some fill as we didn´t have a tow-rig. Polarizer on that and all was well. Especially when sun was hitting a bit sideways from behind 45 degree angle or so. Must give small warning for night shots in car though that i noticed. Had lightpanel on dash for slight fill in face, but this made the driver virtually "nightblind". Danger danger....

Hmm. Am quite sure that I got an e-mail a while ago about there having been a screening of tests between these cameras (filmed out to 35) at I believe - The cinexpo... I have seen these cameras running beside eachother (exept the genesis....) and the D20 looked the nicest to me. The Viper looks like a pile of shite if u ask me....

no difference i´d say for a 16/9 frame really besides composition. look for you balance as you would in 4/3. Don´t use the center-cross in the viewfinder as it may distract you and, as usual with video; watch out for those highlights! :-)

hi! when in shot I´ve placed lights at about three over graycard when spotted to get good definition without blowing. guess skip-bleach would make it even whiter but not bloom though, so I think u would be fine with three over..? Cheers/ Fred

hey! If possible; just get a bunch of black cloth and put it on the floor to kill all bottom fill. Lots of mood=) Take care!

Strangely no one has mentioned the fact that flourescent light and tungsten look very different from eachother. Personally I find flourescents and HMI´s look terrible on skin (hard and flat....), probably due to their notch-like spectrum. Tungsten gives off all sorts of frequencies and to me looks more realistic and painterlike. Then, for a mall, flourescents may be a best choice if to give the sub-conscious "true" feel, as malls usually are flourescent lit. Cheers! Fredrik B

When working in sweden it is very common for homes to have a threefase 32amp outlet for the stove with a special socket. I always carry a jumper to usual 32 amp threefase and hence enabling the usage of three 4k hmis. Very handy!

It seems to me your question is about how to hold continuity between opposing shots so that they don´t differ too much?... Look at your contrasts and try to keep backgrounds at the same level unless already shown as different in a master or so. If you have an overall ambience and look, you can always keep a light floorlevel to make your possible backlight more manageable. Hope that helps a bit. Elaborate a bit on your question... All best!/ Fredrik B.

hey all! long time no see!! been busy shooting... Can´t say I have a favourite way of shooting subjects, it´s all in the way a scene should feel at the moment with content in mind BUT!; soft sources from windows are my true favourites. Things that the human has experienced are the onlty true things to make us tingle through sense memory. Large sources without top or back light is what I like the most, and I hate fourescents and hmi on skin..... David Mullen! U have seen The Lodge that I shot and have probably seen that I aim for those things as much as I can.... Did u like it by the way?? Take care all!! :)

I am unsure. but I believe that would equal 1,78:1 times two.... which is 3,5:1 or so, due to the 2:1 sqeeze in the lens.... corrcet me if im talking crap here.... will read up on this and get back.... take care!!!

In snow falling on cedars you can claerly see the pattern when the kids are having "their moment" inside the tree trunk. Beautiful never the less... one of the best ones out there in cinematography terms if u ask me=) cheers

Hey. there. have found that heavy filtration messes with the light meters making them give strangfe readings. Leaning u towards under exposure unfortunately. Have no way to go around this though.... Good luck anyho.

tnx :D

Having seen that too I must say the only thing different was higher con and sharpness..... not better to me....

Has anyone had the opportunity to try this softy with the s4´s?? Eager to hear of oppinions after seeing some samples of largeformat photography that looks amazing with its stills equivalent.. Cheers

I read that David Mullen pushes the 5218 with great results, and that film is very good at handling mixed light.... one step push to 1000asa I believe. cheers

I thought the ol ultradefenition had stopped posting here? But hey; what´s the world without a strong opposition to fight with :D His little anecdotes are hard to understand at best... As long as I know that I won´t be using the digital realm for any near future and that even a 4k DI doesn´t compare much to a true print, I´ll go on reading ultras´ posts with a friendly smile and hope he won´t be wrong forever. For his own sake that is B)

David. So far I´ve only shot with Hawk anamorphs but am very eager to go for Panavision C-series in a near future. Have you had the opportunity to battle these agains each other? Also. How do you handle days that are overcast in the highrise to make a "sun"? You are quite high up right? BTW: Has any one tried the carne asada burritos at Las Golandrinas in LA?? (Laguna niguel were I lived, and Newport beach) So good you wanna cry :D Cheers.