mosh mishali

Today i have tested two different ways for this shot, the first was david's way in which the light effect worked well but because of the opprating it locked too slow, i mean that it took sometime between each light, the other way i tried was to have two fix 4' 4 bank kino flo's one was on top infront of the actor and the other was on top but from behind, than we took a ceiling's fan engine riged it and attached two 24X36 diffussion frames to it, than we swiched it on and the frames moved instead of the lights, this gave me the right speed but not the exact light affect, now i have to choose what to do... another difficult shot i have for the same project is a 360 deg dolly shot, around a man sitting near a table with a computer, the background needs to be chroma blue and because i don't have a 360 blue studio i will have put the person and the table on a revolving stage and have a fix frame with him revolving, now comes the question of how to light this? the only idea i have so far is a practical light which will be on the table, but i will also need fill light somehow, any ideas? thanks mosh

i think it wouldn't give me the exact effect because if you walk down a flourcented hall sometimes the light will be infront of you and sometime it will backlight you, if i only use 1 kino i will have to choose frontal or backlight, maybe i can use 2 long kino or an image 8 and than i will have both back and front light, thanks for the help mosh

hello I'm working on a short project that envolves a lot of blue screen shootings, for one shot i need to creat a lighting effect that will look as if a man is walking in a narrow hallway with flourcent lights from above i allready shot the background on location and it had about 30 flourcents that are 1 meter away from another. since i can't set a chroma studio with 30 flourcents, the actor will walk on a walker (like in a jim) and i will build a rig with 2 or 4 kinoflows that will circle around above him and creat a similar effect, we had a few ideals for this rig but so far none of them looks good enough, has anyone ever done this before and has a good way to rig it? the shot is a medium shot of a man walking. thanks a head mosh

hey I will be an AC in a feature film next month, we will use the SONY F900R with a pro35 adaptor and a set of prime lenses. the rental place have adjusted the white shading for the pro 35 adaptor but they didn't make lens file for each lens, is that enough or should i make lens fils for each different lens? also if there is a problem whats the best way to adjust it on the set? (if its possibole - must i have a vectorscop?) thank a head mosh

perhaps i should have mentioned it before but the reason we wanted to use a 35 mm lens adaptor is because 95% of the film is shoot inside a house, most of it is small rooms and its about a relationship between two guys (one of them is in house arrest and the other is a still photographer) so in order to not get a flat image we need as less depth of filed as possibole

hello I'm about to shoot a short film (24 minutes) next month and now i have to decide which camera is better for this project. we can't afford to shoot 16 or 35 mm or cinealta we don't won't to shoot DV because the film is ment for big screen projection and we won't a higher resolution, we will however use a pro 35/mini 35 adaptor and a highspeed set of lens... we have narrowed the options to digibeta with DSR 970 or HD with the HVX200 but i'm having a hard time to decide. i've worked with both cameras before but only for tv production. can you please tell me what are the adventages and dissatvantages of each camera when shooting for big screen. thanks a head mosh

hey i just finished a 2 days work with the jvc hd100 and there are few things i learned about it: - if your'e shooting HDV you'll get a much better latitude then shooting mini dv but i know that there is a capture problem if your'e shooting 24fps (at least in Israel where i live) so we shot 25fps HDV PAL. - It's realy hard to focus using the camera's LCD monitor and if you use the focus assist than it's hard to expose correctly. - as for the wide angel attachment i wouldn't recommend it but if you can get the Fujinun 3.5 wide angel broadcast lens it will help you a lot ofcorse it will make the front side of the camera haevier so you'll need to match the weight (we used citytec batterys so it was ok). as for the dvx i think it has better colors and it will preduce a better latitude than the jvc if your'e shooting mini dv but you'll get a bigger depth of field with the divx because of it's lens (which for me is realy important even for a documantry) good luck mosh

I'm sorry i forgot to mention we're shooting with sony DSR 450 and i am planning to use the multi matrix function but i'm not sure about doing it the right way.

hello I will shoot a tv show this week and there is one shot which has to be in B&W and only the blood of one actor must look red (like schindleres list), w don't have much options in post so i would like to get that look (or close to it) useing the camera's CCU, does anyone has a good preset for that? ofcorse the only red thing on the set will be the blood. thanks mosh

Hey I'm shooting a music video and there is one secne i want to shoot using an enhancing filter but i want to keep the skin tones warm, what's the right gel or combination of gels to use on the sources lighting the actors? thanks mosh

hello I'm about to shoot a short fantasy film and one secne takes place inside a sewer tunnel, the tunnel will have daylight coming in from small windows between the left wall and the ceiling, on the right wall there will be a long line of dimmed practical lights (100W bulbs), on the floor there will be a water tunnel on one side and sidewalk on the other - i've attached a drowing of the set. I would like to key the actors with light that is bounced from the water on the actors faces creating an effect of moving lights on them. what's the best way to do it? i can't put mirrors under the water because it's to expansive and a few kids actors need to step on it, i thought about using an aluminum wrap, but will it bounce enough light? and how can i keep this scne low lighted and contrasted? i'll be using an old sony betacam 400 (low budget production) and for lights coming from the outside i will enough baby 1Ks, i hope it will do... thanks mosh sewer_set.ppt

thanks guys, i learned a lot. i realy don't need a helium baloon cause i can rig it on the roof of the location (a hugh warehouse) and i can use it with a 4K HMI source i just need to get/build the soft box for it which will be easy enough. thanks again mosh.

Hello Recently i saw a lot of behind the scenes pictures of US films and i saw that they use a lot of helium baloons lighting (i mean the big hanged sources that looks like hugh soft boxs) - we don't have any of those in israel and i was wondering how do they work? are they 3200 K or 5600 K? whats the amount of light they preduce? where can i get them? are they used only to increase ambianced light? or they can work as a direct source also? i would like to learn more about them cause i'm shooting a short fantasy film and i think i might need one for a few scenes. thanks a head mosh