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klas persson

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About klas persson

  • Birthday 06/19/1976

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    Bollnäs. Sweden
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  1. That is just graded sunlight. There are also a couple of hidden and gelled redheads in there to make certain things pop out of the shadows. Normally I would expose and white balance directly in the camera for the look, but because I wanted the muzzle flash to light the room I exposed it naturally. Just watched the highlights.
  2. I have done one, inspired by Roger Deakins's diy rigs, in a bread crate. The one I did have no mounting options for any stands or anything. It is just a box of light that you can stand wherever. Link! Just a bread crate with a plywood sheet and then another bread crate as a lid for protection. I like it a lot and have used it quite a bit. Mostly for fires, candles, lanterns and that sort of things.
  3. If it is on location the term "day for night" should still be valid though? Anyway, the concept is the same(pretending the sun is the moon). Personally, I love day for night. Especially when doing side lit interiors. So as an advocate for our best friend, The Sun, I thought I should make my case. ;) This is shot day for night where the actor is chased by the undead through a derelict house. It is a quite long, hand held, wide angle, action shot with a lot of whipping around the camera. Controlled chaos. I was careful not to shot through any windows, blanked out those needed and then doing some extra black outs in post. At the end there is a day for night and night for night cross cut too. In the next episode I have a int/ext day for night scene shot in a car. This is maybe more interesting, depending what it is you want to do, as it is lit by a candle. Scheduled to be shot in the first morning light but wasn't until the sun was high in the sky. Anything not orange in these stills is the sun. Then in the fifth episode I had a long exterior shot day for night. Nothing to do with what you are doing, but could still be interesting. This was something I had hoped to do at night but the schedule didn't allow it. Wouldn't have had enough lights for some of the wider shots anyway. The reason I was a little hesitant was because of the snow. And that I was doing all the post production. :) White backgrounds! I knew the actors would only be silhouettes without heavy and time consuming rotoscoping. But in the end, it looks cool so the work was worth it.
  4. I didn't do that many dolly shots, but it was down to choose a few focus points and riff between them. I did, however, have quite a few hand held, run along with the actors, shots. On one I was running along side the actor into a building, through debris and then settling down on an old sofa. So I had to keep my distance while running, changing aperture and then pull focus for the final composition. It worked too, not on the first takes though. :) We were shooting until dusk every day, and often continuing for night stuff, so I was always full open at some occasion. It is all about the actors hitting their marks, at which some are better than others. It is not that I pull focus by eye. I will see if I am off and can get it right, but i can't make a smooth pull by eye. If I was shooting weddings, or something like that, I would not use a 5D. With actors and blocking though, I wasn't afraid of opening up. I was often in the 1.8-4 area. Very rarely over 5.6. In the opening shot of episode 3 I have a 400mm lens on the 5d, open at 5.6. I had the actors walking towards the camera and put focus points at landmarks. About monitors, I am not a fan of having a them on set. I have a small one for those setups where I can't look through the viewfinder though (which is more often on a 5D as you can't rotate the lcdvf) but that one is mostly packed away somewhere. I actually shot a couple of scenes blind as the monitor cable broke down, I had forgotten the spare and it wasn't possible to look through the viewfinder.
  5. I have just finished up the post on the season finale of a web series( thread here at cinematography.com, site) shot with the 5dmii and I pulled my own focus. I used a lcdvf with my both eyes open, one composing the shot and the other making sure I was hitting the focus marks on the focus wheel. Worked alright for me.
  6. The season finale, episode five, is now online at www.thegreatdying.com It has been two incredible fun years working with this. We started shooting in september last year and did the fourth and fifth episodes in november and have been working day and night pulling the episodes together since. Enjoy! This is lit with the homemade light I mentioned earlier. Symbolizing a oil lamp shown earlier in the scene. This is the same homemade light also symbolizing the same oil lamp. The moonlight is a single redhead coming through the entrance of the tent. Here I have an orange gelled redhead bouncing off a regular sheet clamped on a c-stand. The moonlight is blue gelled red heads pointed directly on the actors. These are all day for night. Here is an digitally extended shot. I used Shake to get the Rocky mountains into the scene.
  7. I just wanted to say I really appreciate these production diaries. They are pure gold! I am a strong believer in that generosity pays it self back multiple times over, so I think you'll benefit as much as we do from your efforts.
  8. I think it is Braaains! that is the correct response to a forum thread involving the undead, though I might be wrong. :D
  9. Check out episode 3 at thegreatdying.com. I have some stills extracted from this episode too that I thought I should share. This is shot as day for night under the unrelenting midday sun. The wider shots were meant to be finished in the morning sun but delays pushed us to not begin until the sun was all the way up. Then we continued with the singles until it was time for lunch. This is lit with three redheads, one pointed at each actor and one making a ring of light around the candle(actually a tin can filled with grease with a wick made of natural fibers, survivor style). Any moonlight effects is just the sun working. This is done with a homemade light. I did a variation of the Roger Deakins way of building a board with several house bulbs. Look here for pictures of it. So this is just several house bulbs, making a soft light source. As always when doing fire I have a dude sitting in front of it waving either a branch or some blackwrap. Natural light on all of these. No reflectors used either. The first two images is from the opening scene of episode 3 when the heroes are pushing forward on a railroad. The last image is from a later scene when they have decided not to use the open railroad due to a ghoul attack. The first image is shot through a 400mm super tele to get the effect of them just walking and walking but not coming anywhere.
  10. Here are a couple of images from Episode 2 with descriptions. This is a shot of the hero, chased by ghouls through a derelict mental asylum. This is done as day for night. Interior day for night is very effective, you just have to be careful where pointing the camera. As this is a pretty long handheld action scene we had to rehearse the whole chase quite a few times, blind some windows I couldn't avoid and placing a red head to enhance the ghouls face when he enters the scene. This is also day for night. But a quiet scene with no action. Just a camera on a tripod. The location does a whole lot for me here. Above day for night shot is cross cut with this lit scene. This is done with a blue gelled red head pointed through a window. I have some kind of reflector or maybe a red head bounced of a white sheet too. Can't remember but it looks like there is something coming from the other way. In front of the actor i have a burnt out fire glowing. This is a little earlier in the episode than the above image. The fire is still burning and is done with a bounced red head. The moon light is the same red head, through the window, as above. Same location, during the day. The backlight is actual sunlight coming through the window. One or two redheads are bounced of a white bed sheet. On the wider shot I've also lit a dripping from the ceiling, which is not visible on this exact frame. Very effective in the actual episode though. Exterior from the above location. Only natural light, very cloudy and raining. Oh, and I've forgot to clear the lens from the garbage bag I used as a cover from the rain. Only one light behind the actor. Then bounced of a steel plate to light his face.
  11. Episode 2 is now online. http://www.youtube.com/watch?v=GBQpbZslcHc
  12. And now we have the first episode up. Check it out. Either here or at thegreatdying.com http://www.youtube.com/watch?v=JFCY6Eqncv4
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