G McMahon

To be more specific, light waves come from source "z"; Subject is at point "X". Point X and Z are constants. A diffusion frame of "Y by Y" is at point "a" and a shot is taken. Now the frame is moved to position "b", closer to subject "X", The frame is changed so the size is proportionate to that of position ?a", (closer to subject decreasing the size of the frame to {1/p x Y} x {1/p x Y} - "P" being a number that would allow the line of sight at "X" to see the frame at equal size. A shot is taken. Looking at the quality of light, the light waves from the source (frame), would there be any difference, or would that only show on the backgrounds that more light was splashed on the backgrounds when the frame was at point "a". Make sense, I feel lazy that I haven't just tested this. Thanks much, Graeme

Why does the shadow thrown from a fresnel lens sharper at the flood end then the spot end? It does not make sense. Or am I make these judgements after too many hours on set with little food and sleep and too many cigarettes? Opinions? Graeme

I would try to keep the tests simple and repeatable, and don't do too many. Try maybe two or three variations of lighting for each lighting setup, and three different makeup styles. Then shoot all the permutations of lighting and makeup. Describe to your makeup artist what you're trying to do and let them come up with a couple variations, including a "normal" style as a control set. permutation Noun 1 [C usually plural] FORMAL any of the various ways in which a set of things can be ordered: There are 120 permutations of the numbers 1, 2, 3, 4 and 5: for example, 1, 3, 2, 4, 5 or 5, 1, 4, 2, 3. He made six separate applications for a total of 39 000 shares, using permutations of his surname and Christian names. 2 [C] one of several different forms: The company has had five different names in its various permutations over the last few years. I am a bit thrown; try two or three variations of lighting for each lighting setup, then shoot all combinations. To me that sounds like variations of variations which seem to contradict the idea of keeping it simple. Could you please elaborate? Graeme, thanks muchly

Thank you, but that can be subjective. I should have been more specific, can I read the spectural chart to find the exact oposite.

Mr. Hayes, What is a 8? x 8? Hi Light? Is it a 8' by 8' frame and stand? And you also mention "two reflectors", is that the heavy metal type, or is that you saying the total of the two "Hi lights"? "One 8? x 8? Hi Light with a ¼? grid cloth, one 6? x 6? Hi Light with a ¼? grid cloth, two reflectors. One 4? x 4? soft frost, and two 4? x 4? bead board" Thanks, Graeme

How is the look of grid cloth different to that of say 216? More diffusion? More loss of stops? And referring to the hard vs. soft post, disregarding the size of the source of diffusion (the whole factor of the larger broad source the softer the light is), is the light more diffused the further away the frame is from the point light source? I believe so, but sometimes I see things which seem to defy all previous shooting and physics, and scratch my head and think I should go and work in the family business. Thanks, Graeme

In the past I have white balanced through an opposite colour gel to give a colour bias I want, or shot a macbeth with a colour opposite to what I require to get the colour I require corrected in post. This saves on gels and stops taken from lights. My question is, If I like the look of colour gel, example, lee filter colour lilac tint 169, how can I find the exact opposite colour gel on the colour wheel to shoot a macbeth or white balance through to correct to get my lilac tint 169? Please enquire if I haven't worded this question well. Thanks all, Graeme

One time I changed the preset colour temps during a dolly move behind something close to camera. I obviously preset the colour temps that one of them was preset through a colour gel to give a different colour bias. Other thing, you don't always have to pay with cash if your intimidated by rental costs. Try getting to know your lighting house or a gaffer and offer alcohol instead of cash, off the books. Numerous times of have rented gear for the cost of only a couple of bottles of spirits. Think about it, the guys that work there get nothing out of charging cheap productions standard rates, but by providing liqour they get a kick back. Show them some respect (that also means bringing their gear back in one piece and easy for them to put away, cables rolled properly etc.), let them feel part of your development, allow time to have a coffee with them and ask there advice. They will prefer to be adding to the devlopment of a rising DP then letting their lights sit on the shelf over the weekend. Come with a wish list and negotiate, they understand there techies not pretentious film wankers. Also provide them with the finished product on DVD, with a credit. Just to add, when it comes to looking after the gear, even if it means taking a bit longer tell non techs that you don't require a hand with the gear at wrap time, do it yourself with your techs.

Looking at collaborating with a makeup artist to see how skin tones can be affected with different makeup with different lighting. I am particularly interested in seeing highlights being heightened or subdued, with frontal and kicker or liners with hard and soft lighting. Not knowing much about make up, how should I go about this test with the make up artist and talent? Should I also test with both male and female skin if it?s a generic test? Any suggestions? Thanks

May have something to do with our dollar and incentives. May be that star wars was shot here, may be the night life? A friend of mine worked on it, I can ask them if you want.

Just to add, I read the post further down. I am refering to shots having camera outside side door etc. Using scaff pole perhaps? Graeme

Looking at collaborating with a makeup artist to see how skin tones can be affected with different makeup with different lighting. I am particularly interested in seeing highlights being heightened or subdued, with frontal and kicker or liners with hard and soft lighting. Not knowing much about make up, how should I go about this test with the make up artist and talent? Should I also test with both male and female skin if it?s a generic test? Any suggestions? Thanks

Watching the commentary on, ?lord of war? the director mentioned a specific scene the DP cringes every time he sees. This was a case of the elements changing. I didn?t notice it on the first viewing, not until the commentary pointed it out. Not helping you I know, but a fact you may find interesting. Graeme

Hello all, In a couple of months I am shooting a short involving car night scenes. I would like to hear about cheap methods of securing lights and cameras to the car exterior. Bare in mind, the camera is a small DV Cam, and I am playing with low wattage lights to embrace as much city practical lighting. Thanks, Graeme

Thanks all for your prompt valuable replies. Graeme

I have come from a video background and I am impressing people with my lighting and composition. I believe that I have numerous styles which stay congruent to the narrative but I still lack the confidence as I think there is allot of serendipity with the results I achieve. Shooting video I believe I am cheating as I am getting direct feedback to the monitor (lighting and exposure direct to you). I have shot some film but I feel like I am playing the tables at the casino waiting for the rushes to come in. Loosely quoted, John Seale talked about the two slopes of knowledge, up hill, the first slope, the development of knowledge with your technical equipment and the second, down slope, knowing when and how (and control not to use) the technical knowledge in implementation which would best tell the story. Question 1, am I a fraud or do other cinematographers have a certain element of luck or are they concise with the look in their head as with their results? Question 2, besides the obvious and shoot more, is there a test method to gain confidence in exposures and how light falls? Thanks all