Nadav Hekselman

Maybe he is holding a lantern just above his head, or maybe there is one hanging from a tree. It is a camp after all. I advise you to watch the robbery night scene in " The assignation of Jessie James " for reference . It sounds like you don't have enough light for moonlight effect in a Forest. Usually it requires big face lights and strong. I would go tight and use the hmi as backlight for the trees only. Put them as high as you can and flag the ground. Also try using some smokes, helps alot sometimes. Sounds like a challenge , which is great!! Post some grabs once your done . Good luck

Hey guys, Here is A link to the new music video I shot for Alon Landa's new single - So Easy. Shot on F3 with Zeiss high speed mk.II. Enjoy and tell me what you think. Nadav. P.s. It's Hebrew but alot of fun so don't be alarmed.

Hi all, I'm looking for a reference of an indoor scene in which the light coming from the window is yellowish(orange even) and the practical light inside is bluish (preferred fluorescent). Any one know of a movie/tv/etc.. with this specific setup? Thank you, Nadav.

Here is the link http://www.vimeo.com/11162713

This is a new music video I shot for the Israeli rock band "The Club". It was shot on RED using 18mm Zeiss high speed lens. Most of it is 2k and 120fps. It was greatly inspired by the beautiful music video made by the Focuscreeps for the song "Hellhole Ratrace" (by the girls). Enjoy.

This was actually the first place I posted. I did it accidentally and couldn't find a way to erase it. Sorry.

I'll go do some more tests, aimed for post. I'll post them here for review when they are worthy of attention. Thank you all for your inputs. I

Thank you David for the quick reply. I'm actually trying to find a way to keep the sodium yellowish color but in a nice way. Any advice doing that?

(I accidentally posted this topic also in the Cinematographer section) Hey everyone, I'm about to shoot a short on August with a lot of night exteriors. Most of the locations are streets in Tel-Aviv which are usually lit with the famous sodium vapor lights (the low pressure yellow-orange ones). I'll probably be shooting on EX3 or F900 and looking for the best way to shoot those lights. I want to keep their yellowish quality but in a nice and natural way. According to some tests I did I fear a simple WB wont be enough and some camera or post manipulation are needed. any advice on camera settings? WB? post work? Also I need some advice with gel configuration for matching 3200k light to the sodium ones. A configuration that will be nice for skin tone. Any other advice on handling those vapors will be appreciated. Thanks.

(Moved from incorrect forum) Hey everyone, I'm about to shoot a short on August with a lot of night exteriors. Most of the locations are streets in Tel-Aviv which are usually lit with the famous sodium vapor lights (the low pressure yellow-orange ones). I'll probably be shooting on EX3 or F900 and looking for the best way to shoot those lights. I want to keep their yellowish quality but in a nice and natural way. According to some tests I did I fear a simple WB wont be enough and some camera or post manipulation are needed. any advice on camera settings? WB? post work? Also I need some advice with gel configuration for matching 3200k light to the sodium ones. A configuration that will be nice for skin tone. Any other advice on handling those vapors will be appreciated. Thanks.

Thanks, Checking it out right away.

I took a workshop with him at the latest Camerimage Filmfest. It blew me away.

I'm Looking for a camera equipment rental house in Montpellier, France or any near by area. I need a good rental house with HD cameras like EX3 and also lighting equipment. Thanks for any help.

Sounds like the EX3 is a great choice. Its probably the cheapest 1080x1920 camera available. I recommend you test the Letus adapter and your set of lenses against the standard Sony lens . Keep in mind operating issues as well. Good luck

Thank you Ram, Its a real honor. see you all next year.

Sure thing.

I have a short movie in the student etudes competition so i'm going. It is "Roads" (director : Lior Geller).

Very nice and funny. good work.

I Actually like the light hitting the nose. because it's such a big close up it creates a strong tension with the eyes which is more dramatic and less cheesy or predictable than just hitting the eyes. I do think a softer shadow would have been nicer. very nice .

Thanks Michael! sounds like a great idea! and get some sleep mate :)

Thanks Ram, I actually just finished shooting a short drama with the ex3 and was also very impressed with its latitude. it really blew me away doing car driving shots with a side mount.I got excellent detail from the windows with no ND, no light in mid sunny day. I used Cine1 with some tweaks. here is an example in which the outside was especially over exposed. held up really well i think. about the light-pad, for sure I'm renting one, but not from Utopia since we are renting all gear from India. I love it, very soft and realistic. (only when its really needed of course). :)

Now thats more like it :) !! great tip, I haven't seen that one and going to grab it today. (although I'm not a big fan of Cameron crow) Sorry for the cynicism in my reply. i know you meant to help but i felt a little bit like I'm being lectured about documentary film making when all i asked about was lighting the darn bus. B) i know it will be impossible to achieve only 1.5 over exposed outside and i guess that giving that number was misleading. what i actually meant was that I'm looking for an overexposed look, but i want to retain as much detail as i can. i guess ND will be my solution. ill check it out the first few days and decide. ill post some photos from the trip. thanks again. p.s. just spoke with the producers about the green screen but they couldn't fine a studio available for the entire month so we are flying anyway. :lol: :lol:

probably because i want to see better outside the bus. I'm not sure ND on the window will help me in situation when i drive through a city at night and want to get as much exposure possible from outside the bus. Thank you for that tip. Being a "Lighting" section in a "Cinematography" forum I'm looking for more technical advice about the challenges I'll facing in those same areas (lighting and cinematography). The aspect of content and having 'great moments' is of course important for itself (probably much more than how to light a bus) but is not on debate here. it is how to get those moments better on camera when they happen. Also i believe that in this case it'll be important for those great moment to even be registered since the band will be responding to the outside world and it'll help to see what they respond to on the same shot. Of course that during the shoot ill have to be light on my feet and quick to response, as always. I shot 5 feature length documentaries , and just finished a 6 episode TV series here in Israel so I have some experience with documentaries (also many shorts) . I know there will be little time for anything and there will be many moments with poor conditions ill have to swim through. but i believe there is nothing wrong in coming prepared as much as you can. even when doing documentaries. it always helped me and even saved my skin from a major screw-up many times (excuse my french). Thank you for your help. and I also love the movies you mentioned.

Thank you all for the advice. I'm weighing again the idea of using ND on the windows. Maybe placing them strategically will do the trick and give me the exposure I'm looking for without loosing the ambiance inside the bus. Only problem is that i need to find a modular way for installing them since at night time i will naturally want to take them off . do you know of any kind of roll-down ND or anything similar that might do the trick?

This December I'm shooting a documentary in India. It's about an Israeli rock band going on tour all over India inside a big tour bus. large part of the journey will be inside the bus, due to the long distances between the cities in India, and I've been toying with the idea of lighting the inside of the bus a bit. i want to keep it as realistic as i can, and only raise the inside ambiance level so i could get better exposure of the outside of the bus. im not looking for perfect exposure and it should stay overexposed outside, but not more than 1-1.5 stops i'd say. I think that NDing the windows will be problematic. the band will be sitting at the rear of the bus on both sides and NDing both sides will bring the ambiance down too much. any ideas? light recommendations ? other solutions you think off? any help will be great! I'll be using sony EX3. thank you.