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Milan Stanojevic

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About Milan Stanojevic

  • Birthday 08/26/1984

Profile Information

  • Occupation
    Cinematographer
  • Location
    Toronto, Canada
  1. Here are a couple stills on set. I color corrected them to show the final look of the film
  2. Actually if I can hang a 4 bank kino flo above the table, I think that would give off a nice look. Gelled green, like you said. I'm shooting this next weekend and when it's done, i'll post pictures.
  3. I agree with you that the warm light is out of place. The director wanted a mix of orange and green within the scene. I guess I'll just leave the sconces as the only warm element (ignore the backlight). The 1Ks for the silhouettes do not bring much light into the room and I totally agree with you Dave. Great idea about hiding some lights below. That might work really well actually. As for the flourosents - I would've loved to have them in shot, but the art direction just can't do it. How do I give the scene that look though? Do I gel my softbox with a tough 1/2 plus green?
  4. I'm going to use one 2' kino bulb next to camera with 216 on it. I am going to determine on set whether gelling it 1/2 CTO, to match the sconces. That of course is when that eye light just needs to be there.
  5. In regards to your comment Bill, I have thought about it. But thanks for pointing it out. I'm definitely trying to get a surface that won't be too reflective. Based on the top lighting approach, I am going to get some raccoon eyes - which I feel fits the story. Too much bounce from the table and I might take some of that away.
  6. Thanks David. Any ideas on enhancing the lighting to make it more stylized? We're going to be working with a very deep focus, again giving a more cinematic experience than a natural one.
  7. It is in color. The reason I thought of the backlights is because the movie is to be very stylized (I should have mentioned that). I am more prone to naturalism but in this case the director wants the audience to know they are watching a film. The backlight I thought would add a feel of c.s.i. to the movie, which goes with the overall tone.
  8. Hey everyone. I'm going to be shooting a scene in an interrogation room. I would just like to have people's thoughts on my approach. I am shooting on 5218 500T and hoping to maintain an aperture of about T 4.0. The room consists of a 3 walls. The first wall has a mirror about 7'x4' on it. I plan on lighting all around it either with kino flos (I can hide) or with a ring light all around. The adjacent wall has a door in the center, with 2 frosted glass panels on either side. I want to punch 1Ks through both panels, allowing any outside actors to create silloughettes in the background. The third wall is rather plain. I would also like to put sconces all around the room to motivate a warm backlight. In the middle of the room, of course, will be a table and chairs where the actors will talk and move about. The key light will come from above. I want to hang a skypan with a 2k bulb in it and run it through some form of light diffusion. I also want to hang black material around it, so that the light focuses mainly on the table, and falls off towards the walls. I would like to get a green spike from the skypan, suggesting florescents. I am however unsure of how to do this. Any comments, ideas, thoughts, whatever...please let me hear it. Thanks.
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