tommy holman

Thanks David, the whole film is quite low key, so i was thinking of rigging the kinos down on to the characters before, thanks for your advice, tommy holman

sorry i forgot to say the only real lights at my disposal are 300w, 650w, 1kw fresnels, 150w dedos, 4tube kino flo's. thanks again, Tommy

Hey, im lighting a short film this week and one of the scenes is in an elevator, about 5'0 by 6'0, the elevator will be static so we can run cables in through the doors, but obviously the space is limited, does anyone have any good suggestions of lighting in a cramped space with 2 characters in side? At the moment the only real lighting is from cool white tubes above and thats it, the walls are wooden panels on all sides, many thanks for your time, tommy holman

great thanks for all your help with the subject, tommy

We will be getting it telecined to digi beta, will that cause a problem? and why? also what is the best way to resolve the issue, apart from getting rid of the dress! thanks again.

Thanks Chris, thats what i thought i will carry on as if i was shooting with 16mm lenses.

Hey, Im AC'ing a short coming up which is using Zeiss superspeed 35mm lenses, but shooting on 16mm, how does that effect my depth of field? I know i am still shooting the same format, so my COfC will stay the same right? but 35mm lenses have a shallower depth of field, so will it reduce my depth of field, from say if i was using 16mm lenses? and if so, how can i get depth of field tables for this reduction in depth of field? any help would be great, thanks for your time, Tommy Holman

Hey, I am about to shoot a short film on 16mm, using an Arri-SR3, one of the actresses in the film has a dress on with vertical stripes going down the dress, the stripes are around 2mm wide and there is about a 1cm gap between each stripe, will that be a problem if shooting on 16mm film? As i have heard before that sometimes stripes on film can cause a problem if the film does not hit the stripes in exactly the same place and it can seem like the stripes are moving around, is this correct? Any help would be great, thanks for your time, Tommy Holman

hey, i am currently about to shoot a short film on super 16, and one of the scenes is set in a dense forest with alot of de-saturated greens and browns. As the film has different colour palletes for each scene, the forest scene is supposed to be the 'green scene'. Is there anyway i can increase the saturation of green in the scene without losing detail. I have heard they do a green enhancing filter, but arrimedia in the uk do not stock it! Any other suggestions?? Thanks, Tommy Holman

Hi, I'm not sure if this is going to be of any help but here it goes, I have just finished a 20 minute short on super 16 with an £8000 budget. I to opted for the 500t with practical lighting and was astounded by the quality of the image. I shot entirely on Kodak 7218 500t and used house hold lamps to light all of the interiors. When daylight was a concern I simply used an 85 to correct it to tungsten as stops where not a concern. I would seriously recommend using the 7218 as the latitude is vast and the quality is great. In many ways I was disappointed with the lack of grain on the 7218 (It was non-existent) and decided to push the image 2 stops in the lab to push out the grain, but it sounds like this will not be a problem for you. One thing I would suggest to keep in mind is generally house hold lamps tend to burn orange, so If you want to balance the lamps to 3200k I would use photo form bulbs or simply correct it in post :) This was the first time I have used household lamps to light a film and again was amazed at the speed at which myself and my gaffer could light a scene so would highly recommend it if time is an issue. All the best, Adrian Barry adriansmbarry@googlemail.com

hey, does anyone know hire companies that rent out remote focus controls in the UK? do they have websites/emails etc.? Can someone tell me also if there are remote focus controls for the Arri-Flex SR2? regards, tommy

hey, can someone please explain to me, what the 4.4.4 code means that the panavision genesis has, i have also seen a 4.4.2 code, could some please tell me what they relate to, many thanks, tommy

hey all, i was wondering if anyone could tell me how the scene is lit in the tv series 'Lost', season 3, episode 1, where Jack is trapped in confinement and it looks to be lit with flourescents. As the greens and oranges in the scene are very conflicting. I am currently working on a seedy apartment scene, and was wondering if anyone could tell me how this set in 'Lost' has been lit, by the DP. Many thanks, Tommy Holman

hey all, please could someone refer me to films where there are urban, seedy city apartment settings. Where the lighting shows very murky, oranges, browns and greens. Maybe the underbelly of a city etc. If anyone could refer me to films that look like this, it would be great. many thanks and enjoy you're day, tommy holman

hey all, Does anyone know any films that have seedy, urban, rough, interior office settings , that would be good to reference to for the film that i am shooting. I am looking to shoot it low contrast, with emphasis on the browns, oranges and yellows within the scene. Depicting an office probably below ground that is below the under-belly of a major city. If anyone has films that may fit this style, please could you let me know. many thanks, tommy holman