boy yniguez

I'm planning a shot that I need some advice with. Its Interior evening in a large house. The last shot of the scene is a dolly past the actors to the window, holding on the view outside at night.

 

In the final edit, I want that shot to look as though the sun rises.. or at least it gets bright out. Then, I want the camera to dolly back in and it's daytime in house and its the next day with the actors... a new scene a new day.

 

Basically, I want it to all look like one shot. How would I approach this properly? We are shooting on film with Kodak 5219.

 

Any adive would help.

 

Thanks.

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

Hello!

 

I need to find out what gel is being used in this scene and on what fixture.

 

I have applied Rosco Red to both a fluoro and a 1k Baby but both results are very red on the skin tones. This reference feels more pleasant on the skin tones.

 

Any suggestions would be great!

the scene is that of a photographic darkroom with the safelight on. safelights for black and white photography are normally dark amber.

First of all thank you tom :)

I am looking for what type of film camera should record high frame rates?

Is there any special film-magazines used for that?

Is that so, what is widely used type?

Thank you

check out this site http://www.photosonics.com/

I needed one because there was just too much sunlight for an outside scene, and in this case, so much light that the light meter showed and overexposure reading. So in other words, it was just trying to get a properly exposed image on tape (it wasn't for depth of field, which to be honest, I hadn't even thought of).

Thanks for the help.

most video cams have built-in neutral density filters to compensate for bright sunlight.

Lite-Panels "Ring Lite"

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.

Well I think a good majority of the film may be in slow motion, so I've been looking for lenses in the area for 16mm cameras, and will probably shoot all 2K to keep things consistent in post. I'm just new to cinema lenses, as I've been shooting mainly HVX200, or 35 adapters with Nikon lenses. One lens I found was a 8-63 Canon zoom lens, which might be a good idea since I can't really find an affordable 16mm prime set. And I can't afford to get a 35mm prime set and more lenses for this shoot. What do you think of shooting all on this one lens? Its only a 5-6 minute short, and I think it will cover the range I need and keep a consistent look. As for the other VRI cameras, I'll have to look into it to see what I can find. Thanks for the input.

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.

What may be awash to your eye may be an E or t.7 to Camera.

 

Hold on a second... Boy?... didn't you operate B-camera for me on Doomsdayer.... we shot that in Subic Bay, Philippines?

 

Is that you???

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.

That won't work. A Lamp (neon for example) may be very bright (reflected) but not emit much (ambient) light.

 

The only (true) way is to take a reflected reading.

is it just cinematographer's imaginatiom then when motel rooms are awash with neon light from the sign outside the window?

How would you use an incident light meter (don't have a spot light meter available at the moment) to expose correctly for something that emits light like neon signs/ads or a light bulb etc.?

the simplest way is to point your exposure meter at the source from 1 foot away and take a reading!

Thanks for great post:) I want to add that conception of light area has changed. The area don't have to be a circle, it could be just a splash of light. I'm thinking did Space light with raster from chimera would give me quite good effect on the floor. My second problem is that studio is all white, We have black linen to cover the walls, i'd like to put it also on the floor but dirctor want to have white floor and taht is the problem cuz floor will bounce main light.

 

So:

Did concept with Space light is good? ( Studio height is about 4.5 meters)

Should I talk with director and bring him round to my way:)?

 

Thanks a lot. Any help is acceptable.

 

Ted.

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

Hi everyone! In few weeks I will shoot a clip. I have some technique problem and I'd like to share it. We shoot in studio with Sony EX3 letus extreme and carl zeiss lenses. The idea is that each situations and scenes are in somewhere non defined dark area with 1 light about 3 meters above. I hope that this light make a circle of light on the flor ( about 4-5 meters of light area). My question is: Should i use Spot light ? Or Jumbo 2K tungsten with chimera will wor better than spot? I'm also goint to use some front fill with kino Flo with warm tubes.

Second question is about "spce".

I'd like to achive a perspective without walls or anything just one lighted area and evrything outside circle must be dark. Should i have to all of these stuf make on the set or i could fix it in post production like magic bullet or colorist?

 

PS. I'm not expierience with making post like these cuz i'm new here and still in film school:)

 

Thanks for all answers, and your time!!

 

Ted.

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

hi, i want to film a sequence with a canon 7D in a parking. The scene is a classic "cliché" of two secrets agents in black suit who give a mallet to someone else. I just want to know if there is some rules to respect (kind of set light, positions, etc).

And of course, i dont have so many money to do that... =)

 

sorry for my english.

 

rémy

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!

Hi everyone! I'm thinking how to create a pulsating source using Kino's to simulate runing TV behind the camera. I have 3 kino flo and couple of tweenies, spot light, lowel rifa with raster.

 

I thinking about 2 or 3 tweenies connected to 3 difrent dimers. Cooled with CTB gels, and try to pulsate this way. What do You think?

 

Any ideas about same or better efect using kinos or other lights?

 

Thx for Your time and take care.

 

Ted.

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!

TOMBSTONE - 1993

WYATT EARP - 1994

 

PREFONTAINE -1997

WITHOUT LIMITS - 1998

 

CAPOTE - 2005

INFAMOUS - 2006

 

Those are just a few examples. I know I left out others. Feel free to add what I missed.

 

War films are not applicable unless they are based on the same specific event(s).

 

I am currently researching a story that i'd like to write a script for. But to my chagrin, a someone else has already begun production on the same true story. It is currently being made for theatrical release. My interest began before I learned there already was a script in the works. When I found out, I was a bit discouraged. I will not say what the story is. It's irrelevant.

 

I quickly recalled the above examples, which gave me a little bit of comfort. But I do realize the odds are highly stacked against me. Hell, even if there wasn't another script out there, the odds would still be against me. I know this.

 

But it is amazing that this phenomenon does occur...2 different films based on the same story that are released a mere year apart. It is mind-boggling in fact. That people will still invest millions in the SECOND film.

 

Obviosuly, the same story can be told in a million different ways. And from what i know, this is the case in what I am researching. There are different perspectives and different elements of the story that can be tackled here. It seems as though what I am focusing on isn't quite the same as the film currently being made. Although Im not entirely sure.

 

Any thoughts on this?

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.

hi all,

 

please have a look at the following commercial.

i am having a shoot coming up quick, am directing it, and see potential to use similar cinematography in it.

unfortunately my dop is worthless and i dont have any choices.

could you all please look at it below and give me an idea of what lenses and techniques were used to acheive these looks.

 

 

thanks all.

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

I'm shooting a party sequence this weekend and my art director has purchased black lights for our actors to hold in the shot. Unfortunately, I don't have the time or budget to shoot camera tests to see the effects of black lights.

 

I'm curious to know if anyone has experience shooting with black lights; how do they read on film, how do they meter, do I need to worry about flicker, etc...

 

I know I could use regular fluorescent bulbs gelled with lavender to mimic the look of black lights, but since these bulbs have been purchased I would like to use them.

 

Helps for all the help in advance!

wikipedia defines ultraviolet light as: "Ultraviolet (UV) light is electromagnetic radiation with a wavelength shorter than that of visible light, but longer than x-rays, in the range 10 nm to 400 nm, and energies from 3 eV to 124 eV. It is so named because the spectrum consists of electromagnetic waves with frequencies higher than those that humans identify as the color violet.

UV light is found in sunlight and is emitted by electric arcs and specialized lights such as black lights. As an ionizing radiation it can cause chemical reactions, and causes many substances to glow or fluoresce. Most people are aware of the effects of UV through the painful condition of sunburn, but the UV spectrum has many other effects, both beneficial and damaging, on human health."

the key phrases here are:

1. shorter than that of visible light - it just means UV light hitting an object won't make it more visible to us no matter how much you pour in!

2. causes many substances to glow or fluoresce - for objects to be visible to the human eyes they have to be coated with fluorescent paint such as day-glo paint

so your characters can be waving blacklights around but as long as there are no objects painted in day-glo, about the only things that will glow will be certain white textiles and dentures!

Hi there,

 

I have a music video shoot coming up soon, and were doing one strand of the video in a wood during night hours. There is no industrial lighting, or anything. Also, not many extended length shots, which should make it easier. We want to do this pretty mobile, and the theme of the song is actually concerned with lights, so we were thinking of doing the whole thing using a mixture of:

 

sparklers (loads of em - for close ups)

fire (we would light a bonfire)

fireworks (loads of these - the kind which 'spray blankets of embers', not rockets)

Car headlights (2 cars)

Chinese lanterns (about 50)

Power torches (about 5)

Maybe one or two small HMI's/Kino's if needs?

Strobes (about 4)

 

What do you think? Are we going to get some good footage here?! What problems might we expect? Were shooting on 16mm, 8mm, mini dv and vhs - like I say we just want some nice shots of a light- themed party in the woods; pretty much.

you say the song is mainly about lights so i assume you will include them in the shots. just remember the big discrepancy between exposures for the light source and for the people or objects being lit. to be safer, do not just rely on the sources within the frame but supplement them with others outside the frame. so, say you are filming the chinese lantern scene, balance the exposure with your hmi's and/or kinos.

I'm currently shooting a film in Mexico, and due to actor availability I'm considering shooting a mid morning scene in the afternoon. Its exterior. I'm sure this has been done before, but I've never heard of it. The light would be warmer in the afternoon, but assuming you cool the light, either in post or with an 80a/b is this something that can be pulled off convincingly? Thanks.

here in the tropics sunset is contrastier than sunrise with the sky being darker than that of the corresponding morning sky with the sun in a similar elevation from the horizon. if that is the situation in mexico, you'll need to fill in a lot of your shadow areas to make it believable!

Sorry for asking a question that I could easily find out by testing, but perhaps someone already has experience with this and I don't have much time to work this out.

 

So far I have mostly used a sinlge light only to go through diffusion frames. In this particular case I will need more stop than I get out of say a 10K through an 8x8 diffusion frame. A bigger lamp is not an option in this case, but I have access to more 10Ks. So my question is: Will two 10Ks (both filling the 8x8 frame) give me substantially more stop that one 10K, perhaps even comparable to a 20K ? What about 3 or 4 10Ks:-)

 

Thanks a lot !

yep, every doubling of the light adds one stop - one to two, two to four, four to eight and so forth.

This is, to a limited extent, being done in ads already.

 

Plus, there is always a stills photographer on set.

 

 

This may be a tired cliche, but it rings true here: Jack of all trades master of none.

very true! it has happened quite a few times that a stills photographer shoots my set-ups in my set, my lights and ran away with the best photography award in the bi-annual advertising congress!

Hi ladies and gentlemen,

 

I am preparing for a short film at the moment. The story is about life of a cab driver and it will be shot on HD. The script requires a lot of night time scenes in a cab. Currently I am looking for references. Does anyone have any suggestions, any still images, any films to have a look or lighting techniques, equipment?

If you could take the time and give me some recommendations I will be grateful.

 

Thank you for your time in advance

 

Regards

definitely jim jarmusch's "night on earth" - 5 cabbies in 5 different cities around the world, all at night.

depends really on the mood you want to create. an overall lighting like pictured, the china ball would suffice, but the you have the headroom to mount it. for a more dramatic lighting where the couple is in a pool of light then a kino diva or vistabeam flush on the ceiling and skirted with black cloth will keep light away from the wall!

Hi ladies and gentlemen,

 

I am preparing for a short film at the moment. The story is about life of a cab driver and it will be shot on HD. The script requires a lot of night time scenes in a cab. Currently I am looking for references. Does anyone have any suggestions, any still images, any films to have a look or lighting techniques, equipment?

If you could take the time and give me some recommendations I will be grateful.

 

Thank you for your time in advance

 

Regards

your best reference would be "night on earth" by jim jarmusch. stories of 5 cabbies in five different cities all over the world, all night scenes!

what about ultra violent fluorescent?

i'm not quite sure how much visible light is emitted by ultraviolet fluorescents but that would be easy enough to test. bring your camera to your local disco and shoot skin tone under it making sure no stray light is coming in. that should give you an idea how much exposure you'll get from objects or skin not painted with phosphorescent paint.

Hi,

I'm looking for an affordable super 16 zoom lens for my Bolex. I have an old Angenieux 15-150 f1.9, but this huge thing got some dust inside… would be too expensive to clean and re calibrate.

What can you guys recommend?

 

Thanks,

Regards

i'd say shoot some footage with it, if anything the dust will just lower the contrast. the angenieux 12-120 was a favorite for a long time!