Gustavo Brum

I did a test with a Canon C500, and all of the highlights have a tendency of turning yellow. used Canon Log and the camera was set to 3200K Anybody familiar with the problem?

Roger Deakins Vittorio Storaro Sven Nykvist Conrad Hall Lance Acord

If you think an agent does not brings you job (or rarely..) its time to change your agent...

Does anybody has used the XDCAM EX PMW-350? Any thoughts about the camera?

I use all the time, but mostly as a background wash. My favorite is the Quarter Mustard Yellow 643R...but remember you also mix the gels, to get a different look...

The scarlet is just a prototype and not even a single one unit has been sold yet... Therefore it can't be compared with the others.

Its DSLR footage for sure... Get as many images as you need, but remember the secret of this sequence is in the editing.... with an editor this good, your images will always look interesting.

Spacelights dont have punch, hey dont have a "focus" and because they have the silk part connected to the fixture by chains, so they are difficult to handle (as difficult as a chinese lantern outfit) therefore, usually spacelights are best when hanged. Since they create a "glow" they are good for spreading light around, great for lighting large areas, where you want to have a minimum exposure. I never use them as the source but more like an overall fill. Specially in high key TV shows. They are also good for green screen...where they can give a feeling of an even lighting. But remember: once they are on, they will SPREAD light in every single direction, to the bottom and to every side. unless of course you put some "skirts" on it, which will increase the amount of heat in the fixture. t Also you can have areas with more intensity of soft light than others, just by mixing, 1Ks, 2Ks and 6 Ks spacelights. A word of advice, make sure the spacelight fixture has a mesh/net covering the globe. Because the fixture operates facing down, (with all of the heat staying around the fixture) if someone has touched the globe by accident, the globe will explode...and if you dont have the metal net covering , your globe will become dozens of ultra hot pieces of sharp glass flying in every direction. So in my opinion, spacelights are good to spread "fill" light but not easy to control.

My favorite ones is Marlon Brando's The Wild One...very well done and very convincing.

Sony and Apple are like ex-boyfriend and girlfriend. May be my grandsons (which are yet to be born) will see something from Sony that runs smoothly on Apple or vice versa.

I saw a Sola this weekend at Cinegear, and besides being a very interesting fixture, it will not measure up against any Jokers or even the Arri mini-par 125. Its a great light but it doesn't have punch. I do love Litepanels (I own a couple) because they give out a very unique light. with a quality that isn't very hard like an HMI nor soft like a Kino. In my opinion they are in a category of their own.

First, remember to use "clear" globes or transparent globes because they will give a better shape and darker shadows. It will look more dramatic. If you want less dramatic, use the opaque globes. Second, have some "Streaks n' tips" spray which is basically spray paint used in human hair. Make sure the globe is off and COOL to the touch!!! This is very important, because if the globe is hot it will explode on your face. Use the Streaks n'tips in the center of the globe, the side facing the camera, because if you dont do that you will have a very menacing hot spot. The Streaks n'tips will "slow down" the hot spot. Dimmers are good, but on household globes they will make the globe change its color temperature enormously. The lower the intensity, the more red the light coming from the globes. So it has a price. Also you can use ND gels underneath the lamp, so you have one intensity on the top of the light and another on the bottom, this is an option in case your subjects are sitting close to the lamp, or you have some piece of furniture or props that are white (or lighter color) and and will expose too bright.

If I was you I would play with "pools of light", having some areas go a little darker than others. Also since you are shooting film, play with the CTS and CTO's , gel some areas to look warmer than others and so on.

Is your globe a Par Can self contained style globe? If it is there's bad news, these globes not only are hard to find but they are super expensive, I mean $500 dollars expensive....as opposed to $200 from a regular 1200 HMI globe. You should try to contact Galaxy Repair Lighting because, they may be able to modify the fixture for you. But remember, its not about changing the socket only, also you will need to add an UV glass in front of the bulb,that's very important... unless you want to give skin cancer to everybody in the set!

DoF Adapters are just a tool. There's no video camera out there that can give you the look of a DoF adapter. No matter how you light it. Because it has nothing to do with light but with optics. There's pros and cons 1) It takes a lot of light. and if you use slower lenses, then you need even more light. 2) With a DoF all of a sudden you have the issue of Focus. Focus is crucial and if you are moving the camera (dolly, hand held, etc) you will need a focus assistant because since the depth of field is very shallow, whatever is not in focus it will be out of focus or blurred. 3) In my opinion the DoF only works well with lenses from 35mm til 85mm. Under 35mm you wont see much difference and beyond 85mm the depth of field is very narrow anyway. And the best effect comes from placing you subject near the camera, so you can have the subject in focus and the background completely out of focus.

Yes...keep the blinds pretty closed because there's no way you can fight sunlight with those guns... If you put a CTB in front of a 2K, then its no longer a 2K, because the CTB will eat up some of the light. I would keep the blinds closed , but use the 2Ks like if they were the light coming from the window. Place one 2K near the window and and shine it towards the bed. with some 1/4 CTB. The other 2K you can bounce against the window, or the area near the window. So you have soft and hard light coming from the window like a glow. Use the 1K to bounce against the ceiling near the subject, but in the opposite side of the window. And if you have a dimmer, use one scoop with a dimmer, very low behind the camera, for some eyelight. The other scoop...well the other scoop you can leave in the truck. ' Scoops are very limited, they produce a nice mix of soft light (because of the globe) and hard light, but because most don't have barn-doors they are difficult to use and control. That's my 2 cents.

The problem with cheap LEDs (at least the ones I came across) is the excess of green in their color spectrum... I tried using Minus Green gels with no positive results and it renders skin tones in a very unattractive way. Good for efx though...

The problem with cheap LEDs (at least the ones I came across) is the excess of green in their color spectrum... I tried using Minus Green gels with no positive results...it renders skin tones in a very un unattractive way.

Well, not every shot is a wide shot...little Litepanels as well as the 1x1 can be very useful mainly because you can hide them in places where a normal lighting fixture will not fit. Also if it's a scene with a lot of action you can easily have these fixtures to act as keys when the character passes near an open fridge and situations like that. They can also be mounted near the camera for an eye light and since they can be dimmed (the news can be color corrected on the fly) you can fine tune them to get exactly what you need. Although they are overpriced, in my opinion, Litepanels fixtures can be a great addition to your bag of tricks.

Every big commercial I have worked on (including latest Best Buy) is being shot with a Panasonic HPX 3000. The gamma on these cameras is incredible.

Well "inferior" is debatable...I own both Chimeras and Photoflex and I like the Photoflex silverdomes very much. As a matter of fact the Photoflex Starlite fixture with a Silverdome and a 1000W JT globe can give you a very delicate light, extreme soft and very warm.

I have done a shoot where I mixed the black lights with Kinos (the kinos had the blue globe used for blue screen) and 1200 Hmi's with Congo blue gels... But remember you need a lot of UV/Black lights to get a decent exposure...

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My best story, is about an interview on a restaurant in Santa Monica where after showing 1 demo reel of Music videos, 1 of commercials and 2 dvds of films currently on Blockbuster, the woman looked at me and said:" All I want is a simple interview lighting, 3 point lighting kind of a deal, do you have anything like that? "

if you buy Arri 150's make sure you buy lots of replacement globes, because you will definitely need them sooner than you think.