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boy yniguez

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  1. jase, i would just lock the camera in position at the end of the dolly, turn off the camera, wait for the next morning, continue the shot and dissolve the two shots together. the dissolve will give the illusion of brightening day outside! boy
  2. the scene is that of a photographic darkroom with the safelight on. safelights for black and white photography are normally dark amber.
  3. check out this site http://www.photosonics.com/
  4. most video cams have built-in neutral density filters to compensate for bright sunlight.
  5. or the obie light: http://www.filmtools.com/litepanels-lp-micro.html Litepanels Micro LED Camera Obie Light. Since the dawn of film making, Hollywood cinematographers have understood the importance of a good eyelight, one that literally gives life to the face. Now in the era of HD resolution, its even more important to fill in shadows on the face and bring the subject's eyes to life. OBIE LIGHT Compact light fitting designed to mount just above a film/stills camera lens for two reasons: firstly to create a characteristic glint in the eye of the subject of the photograph/film (it's known as the Eye Light), secondly to flatten out any lines/wrinkles in the face of the subject. The Obie Light is named after the actress Merle Oberon (known to friends as "Obie"). It was first used by her husband, cinematographer Lucien Ballard, in the 1940s to make lines and shadows disappear from her face which were due to scarring following a car accident. The Obie Light is normally heavily diffused. Litepanels lightweight, yet powerful new camera light (obie light) was created in response to the overwhelming popularity of the company's MiniPlus model. The new Litepanels Micro harnesses the company's extremely efficient LED technology in an ultra-lightweight, extremely compact package. Users of DV camcorders can now enjoy a similar quality of luminous, soft, directional lighting, with the same warmth and great color quality that has quickly made Litepanels an integral part of television, broadcast news and motion picture productions worldwide.
  6. cody, the zoom may cover the focal lenghts you need but what maximum f stop does it give? the primes will give you an advantage on the f stop for slomo.
  7. you may be right about the amount of light a neon lamp throws but wrong about me - i've shot hundreds of tv commercials by the time you graduated from being camera operator. you've got the wrong boy.
  8. is it just cinematographer's imaginatiom then when motel rooms are awash with neon light from the sign outside the window?
  9. the simplest way is to point your exposure meter at the source from 1 foot away and take a reading!
  10. ted, one space light with a black skirt could work! since a circle of light is no longer imperative, you could lower the light just outside frame giving you a much higher exposure for your subject and hopefully the light hitting the floor diminishes towards blackness. and the floor being white, you'd achieve a nice glow on the floor around your subject , unlike a black floor where your subject will look like he's floating in space if you don't make the circle prominent. hoipe this helps. boy y
  11. hi, tadeusz, to achieve the limbo effect you desire, the whole environment you are shooting in should be completely black, even the floor. a 2k theater follow-spot would give you the circle of light on the floor. your biggest problem will be the circle of light will register about 4 stops under-exposed compared to the subject's skin tones being black. one solution would be to make the spot light come slightly from the back (like a rim light) so you can light the front (maybe softlight) about three stops lower. the spotlight, being three stops over-exposed will make the circle of light more visible! boy y
  12. select a parking lot lit well enough to give you exposure and bring along a small fill light since light from the practicals would probably be coming from above!
  13. hard fresnel sources don't work as well as softer, broader sources since tv sets are wide sources of light. a 4-bank kino with two bulbs daylight, one bulb tungsten and the last tungsten but with some green gel works well when you fan a very narrow flag up and down across the 4-banks such that the emitted light subtly changed color, since the program being shown shows different hue. quite convincing!
  14. as far as coincidences are concerned, you might be interested to know the rubik's cube was invented simultaneously in two different parts of the world unknown to each other.
  15. the main look is actually from use of long lenses combined with light bending objects placed close to the lens like prisms, assorted odd-shaped bottles. check out opening frames of .
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