Marc Levy

Thanks.

Any ideas on a way of eye-lighting that doesn't act as a fill/increase exposure? I really struggled with this recently, and faced times when I had to choose either to keep the low-key style I was going for (but no eye-light), or a nice eye-light, but a lower-contrast effect. I am interested in both instrument ideas and technique. Thanks.

I agree. Quite useful for the Cine student.

Any recommendations on DVD/VHS learning tools that might include demos on lighting, film (processing through printing), and anything else? Thanks

Check out 28 Days Later. Shot on DV, but with such interesting shots that it doesn't matter. If you're looking to have a "different" look than traditional horror, you might find it useful.

Thanks. Very interesting.

The images are beautiful, but I think the cinematography actually detracts from the film by drawing too much attention to itself. For other films it may have worked, but in this one (being a heavy drama) it seems like a 360 degree slam dunk when you needed 3 points to win the game. Prieto's awesome, but he got carried away here.

I just shot some stuff on 79 (push +1), using the Arri - SR with a Zeiss T2 zoom and Zeiss SuperSpeed primes. Although I'm pleased with most of the footage, some stuff (even static shots) is soft. My AC measured before each take, I checked my diopter and did a focus test with each lens during prep. I'm dumbfounded. It was rather difficult to tell if each shot was sharp (even with a choir boy), as the lighting was low-key and we were shooting at T2. How can I assure proper sharpness?

Thanks

I'm shooting a scene that takes place at dawn, just before the sun rises. An 85B would be too strong, as the light wouldn't be 5600K, right? What is the color temp, and how should I filter for 500T film? Also, if I supplement with tungsten light, should I gel these lights?

Thanks.

For a moody, low-key close-up, should I set my aperture to the stop that the key light (incident light) reads on the face, or should I set the aperture a half-stop down from that. I have been setting aperture to the stop that reads on the key side (so if that side of the face reads 2.8, that's my aperature) and would let the fill side be two or three stops under. My footage, however, seems a bit hot on the key side of tha face. Should I set aperture a half-stop down from what the key-side of the face reads? Thanks

So, tell me if this is what you're saying. If I plan to increase contrast and saturation to a large degree, I would yield better results doing it in telecine than in AVID DV EXPRESS, even if tape is the outcome either way?

If not going back to film, does coloring in Avid yield the same results as coloring in a telecine session? I just colored some stuff, and it looked great on the small monitor, but when projected, there seemed to be a digital grain. Was this added "digital grain" caused by color manipulation in Avid? Would this digital grain appear if the same color effect was produced in a telecine seesion? Should I pay the extra money to supervise a telecine session, or should I just color on Avid? Thanks

Thanks.

I'm using the KinoFlo Wall Light on an upcoming shoot, and am wondering if anyone has experience with it. Any hints on flagging this instrument? Thanks