Bruno Alzaga

Hi guys! Say what you have to say.

Gracias!!!

i use it the same way all the time

 

to measure the contrast of a scene

 

i set the f/stop i want to the scene then i "tell" the meter it's EV0

 

then i every place i point the meter i can get an easy read of the stop difference

 

every Ev number represent 1 f/stop so if i see a EV3 it's 3 stop over and if it's -2.5EV it's 2.5 stop under

 

very easy and fast

This has benn very very useful.

Thank you very much!!! Muchisimas gracias!!!!

Hm, hard to tell what you saw. do you have a sample clip?

 

Cheers, Dave

i try to get one

Thank you

You mean a pan? And did you see jumping as if the field order was reversed? Because it's in the nature of 25p that quicker pans don't look as smooth as in 50i (logically so!).

 

Cheers, Dave

I mean a travelling, i used the mini skater. And it was a slow movement, and i shot in the setting cine like

Thank you

I was shooting a packshot last monday with this camera. When i made a travelling in a very close up shoot i see (i don´t know the technical name in english) the product move, like the fields of the image. So i change to 50i and i solve it, but i want to know what happend and why.

Thank you and sorry for my english.

Hi Guys first of all sorry for my bad English... do you have any suggestion to acquire this kind of look... a clean and soft light with a kind of division between the table and the back ground? I'm thinking to use four 6,5feet x1,3feet soft box for the actress... 2 for the back lights and 2 for front light and i will tray to use 1k arri fresnel to make the back wall light ball

 

do you guys think is better to work with HO lights? i'm sending a photo of the soft box light

 

thank you for any help

I think that you already have the solution., soft light for the talent anf the background.

Good luck

It's just a number to represent all combinations of aperture and shutter speed that yield the same exposure. For example, EV0 equates to f1 at 1 second of exposure. It also equates to f2 at 1/2 second exposure, f4 at 1/4 second, f8 at 1/8 second, etc.

 

I have never found much use for it, but it is a nice convenient way for lightmeters (this all started in the days of analog meters) to only have to output one number instead of two.

That´s what I have been reading. I can´t find much use to.

Thank you

I´ve heard about the EV scale, it is in my new light meter, but i can not understand how it works and what purpuse it has.

If anyone can explain to me i would be very happy.

Thank you

Why do you want to use Plus Green on the backlights when you're shooting blue screen? Is it just for the look?

 

Also, how big is the area you need to light? How wide you are shooting? I see DPs often use large soft frontal keys for this type of look, as close to the lens axis as possible, maybe with an additional eyelight. Perhaps something like an octodome or Breise light would work. The fresnels as backlights may be too spotty if the talent is moving, maybe you can rig a grid of 4 bank kinos instead. You can also lay down large bounce boards on the ground to fill in the lower half of the body.

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I think that is a good idea to use de kinos. About the key light i want to use 5k with silk or 1/4 grid, near the camer axis, to avoid shadows. The area is about 7 meters.

 

Thank you Satsuki!!

Any suggestions to achieve that look???

Thank you

I am about to shoot a commercial next friday. Blue chroma and a talent. The director want a soft lit all over the talent. I think this set up: 4 spacelights, 4K each, to lit the chroma and create a nice ambient light. Then add two 5k frensel through silk to lit the talent (both 45°). And two 2k with 250 for the backlight (maybe with plus green), so i can have some light in the talent´s shoulders.

The talent moves so i have to lit he for every angle.

This is the ref:

http://motionographer.com/2009/01/23/bns-office-max/

And some thumbnails of the ref

After watching 28 weeks later at an AMC theater, I was hooked by the S16 photography ( I just bought one hehe).

Anyhow we ( me and buddy) finish watching the movie and this security guy was been an ass and out of the rage that I had against him we sneak into 5 films that whole day, my view was I paying money to see films... escuse me I'm over paying money to see this film.... and I 'm going to be treated like poop.... hahaha no in my book.

Anyhow I saw Fracture and I was delighted to see great photography, great angles, great movement. I love the over exposure in a lot of teh cases, plus the rhythm of the film.... great from this guys really liked

I have to go bye guys

 

Best

I want to know the techique of the blue light use in the interior night of the car, when the lawyer arrives home. Is that a minikino bounced in the roof of the car?

Thans a lot!!!!!

I'm looking for a good technics of rain effect on face......

Please help me if someone know this technic trough a magnifying glass, a piece of clear glass and a water spray..!!!!

Thank !

Gabriel

I once use that effect. I just use water but you can use coffee or a black liquid to dark the shadows. Pay attention on the shadows edges

ok. So if i was to use tungsten stock, what filter would i use to turn it to white light?

what about daylight stock?

 

regards

ken Minehan

With 3200 stock if the sources are 3200, use nothing. I don´t thing that the supermarket use 5600 light. In this case you have to put 85 on the lights of the supermarket.

Regards

Recently I have to light some shelves. Thats was simple, i solve that with some Kino.

But i was wondering if i have to light an entire shelve and the aisle with a talent. I usually shoot with a Panaconic P200, HD. So, I think that i need a lot of diffused light to simulate the supermarket light and to have no shadows in the floor and in the shelves.

Can someone tell me a method to simulate a supermarket lighting.

Thanks and i will try to find some frames of what i mean

I meant other scene. Is almost at the end of the trailer. The actor shoot to the air. You can see the the HMI 575 reflected on the tree at the left.

 

Thanks

This is the scene.

http://www.bluesky-web.com/fire.mov

WALTER,

That´s seems quite real. What technique did you use to achive that result.

Thanks

Is this the part you meant?

 

 

You did a nice job, it looks like he's firing a real bullet.

I meant other scene. Is almost at the end of the trailer. The actor shoot to the air. You can see the the HMI 575 reflected on the tree at the left.

Thanks

Jonathan is probably right with the flicker box.

 

If you wanted to do this same effect (outdoors?) what if you had an actual fire going (keeping in mind you're in a location that a) allows it and B) is safe to do it in). Personally, I like to shoot films with as much natural light and location sets as possible. But that's just me. B)

 

Good luck!

 

Dan Goldberg..

Thanks to both of you. I´m not a native english speaker so some word are diffucult to me. A flicker box is like a dimmer?? The second question, Dan when you said "I like to shoot films with as much natural light and location sets as possible", do you mean that if you can u will use fire? If this is right, Do you have any read in your photometer?

Thanks a lot

I have just saw 300, and in the scenes at night fire is very used. In some shots you can´t see the fire but the flames lighting the actor. So i want to know who to do this effect.

Thanks

LOL

 

So be there when they grade. WHATEVER you put on the front and whether you shoot grey scales or not you will need to control the TK. Its 40% of what you do.... if you're not there it becomes 90%. I'd imagine at your stage you have no working relationship with Colourists that know your work and you trust to do a good job. If thats the case they will probably (even in innocence) slaughter your work.

 

Be there.

Be brave. If you want a warm look you know what to do, so do it. But there are different ways to do it. The DoP wich i work always tell me that it is beter to have all rhe colours, so i agree with those who say don´t use the coral, and warm it up in post, where you can warm it up at your willThe pola is a good idea to saturate colours a litlle bit, and i will correct with 1 1/3.

Simple. I have a comercial next friday. Lock down camera. Food. So, i need the typical soft light for the food. But i need to simulate some atmosphere: day, night, fancy saloon, etc. So my idea was to set up a basic soft light for all the different "moments" and have a light, in this case is the Key light, to recreate all the different atmospheres.

Any idea?

I should amend that to say that you might see the flash on film if you saw it in the viewfinder - there could be some overlap over the shutter boundary if the flash is timed just right. But that is far from a sure bet, and the only way to be certain is to keep shooting until you get a shot where you see no flash in the viewfinder.

One time, shooting at night, the DoP needs to simulate a gun shot. But the gun was on camera. So he use a HMI 575w with 85 half and in front of the light que put a frame with several stripes of steel. This thing have a system, so when you pull up a stick the stripes open and the light pass throug and when you pull the stripes close. I have to said that a tree was near the light so the effect is more realistic because the light bounce in the tree. You can see the effect in the trailer. PLease visit http://www.paristexas.com.uy/EL_COJONUDO/trailer.html

Que tal Alberto. Yo hablo español perfectamente y soy Gaffer y DoP. Quizas te pueda ayudar. Asi que plantea en español el problema asi nos evitamos errores, aunque mas o menos lo entendi. Tuve un experiencia hace poco en donde tenia que simular la salida del sol. El plano era un taza de cafe que estab en sombra y de a poco el sol que sali, la empezaba a iluminar. El efecto fue hecho con una bandera negra que cubria el luz que iba a iluminar la taza. Poco a poco, el Gaffer iba sacando la bandera y parecia que salia el sol. Realmente quedo muy pero muy bien.

Hi Bruno,

 

Sorry about the delay, I've been very busy for the last few days!

 

The stock was 5217 and 7218, Kodak Vision2. THe film went through a DI. Lenses were Zeiss Ultra Primes, Angenieux 12:1 Optimo zoom, and an unnamed 400mm lens (probably a Nikon or Canon). There's actually a lot of lighting info in the article that would take me way too long to go through, so if you send me your email, I'll scan the article and send it to you.

Thank u a lot. My mail is brunoalzaga@gmail.com

Thanks again