EDDUS RAY

Hey guys these are all great tips. I appreciate you taking the time to reply. I also very much appreciate the sentiment that its more important to keep the feeling on authenticity and intimacy over the shape of the images.

The modern era of documentary filmmaking is producing some truly inspiring work. I'm a big fan of David Bolen's imagery, his work is moody and natural. I'm wondering what some techniques are for controlling lighting in spaces where you seemingly have no control. I've done quite a bit of documentary work for TV, especially talking head type stuff, where we have time to control the interview frames, but what about verite moments? Is it just a matter of controlling the timing that you shoot in said spaces? I often wonder how much lighting is actually going on behind the scenes in films where it feels more follow style but maintains the moody/contrasty look.

Absolutely beautiful work Miguel. Do you mind sharing some of your process for this? I'm curious what lenses and lighting approach you took Thanks

great idea. i have some prism filters but those are a bit more intense and probably more useful for a music video, etc. appreciate your input, thanks

Hi guys, I'm trying to come up with some unique ways to "dirty" up the image and add some depth to the profile/b-cam angle for an interview shoot i'm DPing. I won't be able to afford anamorphics or nice vintage glass, so I was hoping to find other ways to introduce character & anomalies into the frame. Some thoughts I had: -Clear filter w/ silicone gel (or similar) on edges for simulated edge blur -Ping lens w/ direct source for subtle lens flare Anyone have suggestions?

Thanks for your response!

I'm working on a no budget project where we shot the first week on a C300 w/Cooke Panchro's and now due to budget concerns, the producers are opting to use a friends F3 that we can get for free.. My question is: In trying to match the footage already shot- what makes more of a difference, Having an F3 with the Cooke Panchro's or splurging on the C300 rental and going for cheaper lenses? I shot most of the material in a modified Cinema 2 setting.. Thanks!

Is it possible/safe to rig a 6x6 with two c-stands? I've done it before with combo-stands, but I'm trying to keep my package weight down for a mobile shoot.. The shoot is an interior. Thanks!

You could try the Nila Boxer Light.. It's a fairly light-weight focusable LED with some punch.

I know a lot of this has to do with effective size of the light- but generally speaking does a bounce have a faster falloff than a direct light? I was reading something where Roger Deakins stated that a bounce doesn't have the "reach" that a direct light had- and I am interested in knowing how terms like "reach" and "punchy" relate to falloff vs. quality of the light (evenness, etc.) in this context.. thanks

I know a lot of this has to do with effective size of the light- but generally speaking does a bounce have a faster falloff than a direct light? I was reading something where Roger Deakins stated that a bounce doesn't have the "reach" that a direct light had- and I am interested in knowing how terms like "reach" and "punchy" relate to falloff vs. quality of the light (evenness, etc.) in this context.. thanks

Thanks man, that make sense.

Does anyone have any information regarding the application of the Zone System to the waveform monitor? Do certain Zones fall over IRE brackets? I.E. Zone V @ say 50 IRE'S...?

I recently saw a DP do this for a scene that took place in the hull of a boat. It works great.

I was looking at the photometric data for the Source4 and it displays two different beam diameters for the light.. Does anyone know the difference between Field Diameter and Beam Diameter? http://www.jfrost.com/ent-tech/sales/lighting/Ellipsoidal/S4_26_vE.pdf thanks.

Hi Lindsay, I think you achieved some really nice images here. A couple of questions.. Were you using your DIVA to backlight the product or your subject? Also- did you end up sandwiching the your foamcore to make a V for the booklight or did you bounce off a flat piece? thanks!

Thank you!

Hi Guys, I know there have been a lot of questions on eye light's recently, so I apologize if this is partially redundant. I was watching Sleepy Hollow and notice that Lubezki achieved these very luminous round catchlights in the eyes. I've heard that he was bouncing HMI's for a lot of this movie and using big soft sources, it seems like they would have to be walked in quiet closely to in order to get such a dramatic effect, no? Anyone know about Lubezki's specific technique to achieving this? thanks.

Thanks Frank. It seems like the way to do it best is to Key the subjects with either a tungsten source and then light the background with daylight sources or vice versa and then correct in post.

I just saw The Hangover II and was really interested in the lighting, especially in the Tattoo Shop scene. I love the tonal range and am especially intrigued with the color palette. I don't see any gels on the practicals (overhead Flo's) yet they seem to be giving off a nice teal color... Is this achieved via color grading- or are the subjects being key'd with Tungsten sources through the window, and then perhaps the flo's have bulbs with a special color temp.? Any help would be appreciated. Thanks!