Vedran Rapo

or both? You know, i've heard so much skepticism from both parts, but it's an undeniable fact that you can't go wrong with an analog. it's simply the right data without discrepancy when read right. i'm sure you can say the same thing with a digital. i mean it's not like in cinematography we're choosing 100 choice increments of f-stops so does it really matter. i've never invested in a digi light meter tbh, but i do need another sekonic studio deluxe series replacement in analog. or should i check out digital? any recommendations, especially those who were at first skeptics but then enjoyed digital readers? thnx

i had a same q when i was looking for good light meter.

in the end. i went for Sekonic L558 CINE ... and i didnt regret it a second. superb lightmeter.

I'm a student and my mates and I want each to shoot a short using a Sony PD170. We are using only one location (a small house). Each room has only one light (except the kitchen which has two). The dimensions for the rooms are:

~ Living Room - 5m X 5m

~ Kitchen - 8m X 4m

~ Bathroom - 3m X 3m

~ Bedrooms - 4m X 3m; 5m X 5m; 7m X 3m

 

We have no budget whatsoever.

 

I'm also wishing to give my short a green tone. So I'm wondering should I white balance on coloured paper.

 

Any suggestion will be very helpful.

what about a post production? you can add that green tone....

why going on only one solution when filming? what if you dont like it after you finish :) ? this way (shot on normal balance) you can do what u want :)

Wow, I wish I knew what some of these terms mean. If anyone could either point me to a place that explains "frontal", "pup", "1/4 cto", "ringlight", "dedo", or provide definitions here, it sure would help me learn.

 

Jaxon

i would say,

fontal - main light

pup - ?

1/4 cto - same as 3/4 ... it is about a position of the light

dedo - short for dedolight (a type of reflector :) )

hope i helped a bit :)

Another good deal that I found,

 

Sekonic L-558 C L558 Cine L558C Flash Light Meter New

5 in stock

yup i got mine there...

Hello all,

 

Working with some specs I have determined.

 

To shoot at T2.8 with the aghvx 200 I will need be working with 4.8fc.

 

Minimun subject luminance:

3 lux @ T1.6, gain +12db, 1/24 shutter

 

T1.6, +12 db gain = 4 stops

 

3 lux X 2 (power of 4) = 48 lux = 4.8fc

 

Is that correct? I am trying to work out the amount of lights I need beforehand. I won't have time to put my hands on the camera to manually check.

 

Is T2.8 a good stop to work with on that camera?

 

Graeme

sorry i cant help you, and i know you have no time to explain what is that ... i am student, and have strong will to learn :)

so when you have some time.... i would be very thankfull if you could find a little time to explain it :) thx

Shoot a test, this will give you a better idea of how the films handle contrast. A test will give you the best idea of what the image will look like.

 

All The Best,

Allen Achterberg

you are deff. right.... i will do that... :)

Hi

Use nd gels on the windows of the car are not very expensive for a student. But i like the outside of the car

to be a litle burned from the inside .It looks unatural if they look the same.

that is great idea.

i will def. get some gels, i was looking some films for the last 2-3 weeks (where there is a camera inside the car) ... a saw a lots of lightas that are moving with the car... but we have no possabiliry of doing that :D

thx again for this very useful idea. :)

Depends where you want the focus

 

If you are T2 inside and T5.6 outside - it is fairly easy with some diffused 12v kino flo's (or similar) to bring the level up a bit inside the car - and make it easier for you

 

If you can't and have no TK or DI planned - I would shoot T2.8 to T4 and have the highlights blow... better to get something on the film and print down - then to have nothing

 

under-expose video - overexpose film

 

thanks

 

Rolfe

thx,

i have T4 inside, T8-11 outside, no additional light is posibble because i dont have any :( student budget :(

also no TK or DI... :(

for some other scenes i have 2 2KW an 2 850W reflectors for giving higher level in interiors...

thx for the advice i will try with some parallel test to see what suits best ...

thx again

meter it like 1/90

http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...p;rd=1&rd=1

 

Buy it Now: £250

 

No reserve!

 

Happy bidding!

 

Ed

damn, :( where were you 2 day ago :) when i orderd mine :( :)

Hi

Try the arri

For the film in documentaries i like to use 500 T because is not easy to use lights in some interiors and gives better exposure. The interiors are interiors they don't have to look like exteriors.

thx for your reply

i am going to go with arri and 120m magazines.

50 D and both 200 and 500 T vision films.

i will need c.pol. filters ... and need to improvise holders for them, or try to get the same size of lens filters.

before i do some tests of film, i need one advice.

i have one shot inside the car, difference is exp is abot 3,5 4 stops. will the film get details n the shadow of the car interior if i set exp to outside light situation? :) thx

hello, i am new here, this is my first post.

let me introduce myself, i am vedran, student of academy of dramatical arts in Zagreb, Croatia (cinematographer)

on the end of this month i have to do one short documentary film on 16 mm

i have 2 options (cameras) bollex H, and arri st. with sets of lenses.

other bigger Q is about films.

i will do it on kodak vision color negative film.

i have few (4) ext. scenes and 3 int. (car repairshop) more or less low light scenes.

i will take 50D kodak for daylight shots, but what to use in interiors? i can choose from 200T and 500T ...

the differens (int - ext) have to be minimum because we do only a safe copy of devepoled film and one positiv copy (editing)

any edvices?

thx.