Rick Sharf

also going to be in a similar situation and would love some feedback.

might be pointing out the obvious but as far keeping the sky in check a pola would be beneficial, as well as some hard/soft line grad. ND's.

thats amazing! it looks like it could be really useful for day for night situations. The bottom picture with 90 % polarization, could be extremely helpful. good spot michael, i had no idea about this stuff

well think about what you would need those 2 extra stops for if you chose the 250 vs the 64. Do you want to overcrank the camera at all? if so those 2 extra stops might come in handy, then you could always compensate with some glass in front of the lens. As far as shooting in the 11-16 area, well that goes into how the lens will function when closed that much and do you really want the depth of field to be that big?

Thanks for the responses guys.

 

Here's a link to the 16mm stuff I already shot in Peru, South America. The surfing is towards the middle of the clip.

 

http://www.builtbyugene.com/mov_peru/peru1.html

 

Most of the portraits and landscapes were shot with 64D and the surfing was shot with 250D. The reason why I posted my original question was the the surfing stuff was way-OVEREXPOSED (I fixed it in Telecine and After Effects). I'm new to motion picture film, so I have some learning to do. The problem was made worse because I didn't have a spot meter, only incident meter. I have since got a spot meter and will return to Peru to shoot some more.

 

Question for Jason Reimer. Do you shoot surfing with a Polarizer?

 

The reason why 250D was chosen initially was because I thought the Pola would cut it down 2 stops so I'd have more flexability with 250D; and I've heard that it's ideal to shoot between an f11 and f16 for surfing. Any truth to that?

 

In hindsight, if I had used 64D with the Pola, my surfing shots might have came out better. But I just wanted to see what others had to say.

i really appreciate it when the director is willing to sit down and go through a look book (especially if they are at all light knowledgeable) with me so we can both get the same idea of composition and lighting scheme. It can only help if you both know exactly what is going on at any given moment. Then we can both take care of our own stuff and know that each other is happy.

As Dominic notes most eloquently, there is no specific mathematical relationship between wattage and fc. Lamp technology, lamp age, beam shaping, distance from instrument all alter this relationship.

 

That's why lighting manufacturers supply photometric tables for their instruments. There's even a book you can buy with lots of theatrical instruments noted within:

 

Photometrics Handbook

 

Some other examples:

 

Mole 2K Junior Solarspot

Arri Junior 5K

Kino Flo 4BANK Select

etc....

hey michael

thanks for the mole link, ive looked at the specs before but never noticed the ft. candles in the performance data. great links and i just ordered the photometrics handbook. (just figured another book couldn't hurt :lol: )

looks like Idziak had some lights under water, maybe like a 1k par would be good for you at 500 asa. Just get an inverter and run it DC instead of AC and you should be ok. Thats just one approach thought, maybe something like a 2k ipso could work.

whatever you do just make sure your extra safe with cables around water.

i was under the impression that kino's pull much less than frensels.

Does your projector have a speed knob? I just used an 8MM projector on my shoot and to get the desired effect we just slowed down the speed on the projector. It could be bad for the motor but you could put the projector on a dimmer, something like http://www.harborfreight.com/cpi/ctaf/disp...temnumber=43060

Just be mindful of the motor, and try not to burn it out of you choose this route.

these are amazing dimmers by the way, gotta love the 15 amp for $10.

ya im also curious to how you think this would compare to 7217. Im trying to decide which stock to go with, so some more info would be great!

thanks,

Rick

I would say yes it would be a problem if you were trying to put a 1k bulb in a 650 source, but stepping down is not such an issue i dont think as long as the bulb fits. Is there any reason you cant get both a baby and a tweenie?

well just sticking a light in front of him might not be the best idea for lighting an interview. The overhang can actually be beneficial for you because you can control the light on his face. Do you have to shoot with the flamingos in the background? it might make more sense if there is something relating to the theme in the background rather than just zoo stuff.

for lighting the interviewee a baby and a 4x silk hitting him from an angle might work out well for you

Pick up some foam core board from lowes or home depot, which ever is closer. You can get a 4x8 for $15 and cut it in half. They are very durable and give a very nice soft bounce. On you tighter shots you could fly a silk above your talent to soften the light, and if you can help it try not to shoot when the sun is overhead.

I think shaping light on set is one of the best parts for me. There are several types that you can use to to cancel out hot spots like David said or to get good lines on certain spots in the frame. Flags come in all kinds of different types like dots, which happen to be among my favorite things.

I was on a shoot recently where we needed all night shots during the day. We put some duvetine on all the windows then keno's to simulate the moon, then you have a dark interior to light with your remaining lights.

Like Nat said you could bounce your 1.2 for some extra fill then use the china balls for some nice fill from the candle light. do you have a flicker box?

just curious, will you be shooting this in a sound stage?

I kind of like the idea of mist or fog, some kind of aerial diffusion as well as only 1/4 ctb, i don't find it too attractive when people overdo the coloring. depending on the format i think something like a junior with a muslin infront of it, maybe even some 216 would look good.

Im a huge fan of lighting with practicals, so i would think that some kind of contrast in color would be pretty cool. Maybe tungsten lights in the room vs the cold blue from the moon.