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Nicolas Eveilleau

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Posts posted by Nicolas Eveilleau

  1. Clearly, one of the big issue with china ball, as already said, is putting gel, controlling easily the beam (if we still can call it a beam ^^), etc.

    I don't know if you have similar spot where you work, I guess so, but in France there's a company called Maluna which manufacturate spot called Luciole, in different size. Basicaly, it's a cube, with a bulb inside, and each face of this cube is like a frame, so you can easily put gel, diff or black velvet and whatnot. The light quality is close to what a china ball gives you, but it's just reaaaaaaally easier to use.

     

    Here's the website of Maluna. Needless to say that any gaffer or grip can build this very quickly and cheap :

     

    http://www.maluna.fr/1024/accueil.asp

  2. Hi,

     

    I read in an AC issue, the special lighting supplement, an article about "Pintlings", a short ad/movie with animated beers.

     

    Beside the fact that it was very interesting, some spot are mentionned, called Profile (1.2K Brio Profile and Microprofile espacially), and I can't figure out what those spot are.

     

    Anyone ?

  3. Hi,

     

    I just read David Mullen's subject on Jennifer's Body and I was kind of surprised when I read that he tested tungsten balanced film with HMI to correct them in the lab.

     

    So my question is simple : why using a tungsten emultion with daylight to correct the color in post more than simply using daylight emultion ? I thought that the more treatment you use, the more stressed your image will be, but am I wrong on this ? Is there any aesthetical reason ?

  4. The little DV stuff can be useful, but there is a human version of this : the second assistant ^^

     

    You put your second at 90°, with a fix stick (like a C stand) on which he had put some marks with a tape, and he moves his finger on this stick, following the object of focus. The first, quietly sitting next to the camera, looks at the position of the second's finger, and here you got your human DV solution ^^

  5. Well it does really depend on numberous things.

     

    According to the American Cinematographer Manual, a 4k PAR HMI without any lens at 100ft give you 790 FC. So with 500t, you'll have a T-stop a little higher than 16 (17.7 to be precise)

     

    But here we have a HMI, and without lens, and it's something standard, it might change between different spot's brand.

  6. Damn I know I shouldn't have brought moral problems along with our aesthetic and technical problems ^^ I can't figure out if it'll be a good idea to use a biofuel gene now :P

     

    Anyway thanks a lot for all the links, it's kind of reasuring to see what CA film commission is doing, and to see some technicians concern with the problem too ;)

     

    For now, I think the LED technology stay one of my favourite possibilities.

  7. Yes I thought of this, a combinaison of miror and soft bounce. It's just that I have some night scene and I'm not that much kean on day for night (also I might do it anyway, it's in a forest, I won't have any problems with the sky) and I won't shoot in a build set, it's a small project, so it will be on location. I know I can easily plug my spots in the wall but I'm looking for anything less consuming. First of all, I'll obviously use HMI more than tungsten, but LED for example are less energivore than HMI etc.

     

    It's actually a lot more a question of challenge and curiosity.

  8. Hi everyone!

     

    I'm working as DOP on a small fiction about ecology, so I'ld like to try my best to use "clean" light, and by that, I'm mean that I'll fell weird to have my big generator on a "green set" ^^

     

    So, do you know any alternative ? For now, I'm looking for LED's panel plugged on big solar batteries, I still have to make some math to know hom long it will work, but what use less energy than LED right ? But if you have any advice, any tricks you'ld like to share... :P

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