boy yniguez

she must be refering to the minima which is a 16mm camera that takes in only 200ft. loads.

dimitrios, please do a test. place any object darker than an 18% gray on a white plexi surface lit from under and spotmeter the object as against the white surface which is your source of light and you will see a difference of at least three stops which is enough to separate your subject from the surface. boy

congratulations! if you need to wedge some spacers at the ends of your spools that would mean that your camera's format is larger than 120, right? maybe 125mm is normal for the 116 size film but since you are now using 120 film normal is as follows: 6cm x 6cm image size on the film plane = 85mm 6cm x 7cm = 9omm 6cm x 9cm = 105mm

[try the innovision probe lens system. it was designed purposely for close quarters photography and the lens barrels are barely over an inch in diameter giving you space to light around.

angenieux used to make 12-120 c mount zooms for the bolex 16mm cameras. those were pretty good lenses. i believe they even made a 10-150 model and a 9-56. i just don't know if they still manufacture them.

yup but a white cyc made of acrylic sheets (white plexiglass) lit from under and behind should work better. even then the cast should still be completely covered in black.

yep, "Schinder's List" may have been shot in b&w but i suppose print was in color stock for the red color spotted onto certain scenes. that is where i believe the film lost a lot of its tonalities.

thanks for the correction!

hi, i know this arriving to you very late as i saw it only now but others may benefit. so have the production designer conceal a dedo 150 unit in a flashlight casing, tape the wiring on the underside of the actor's arm inside his sleeves onto a 12v battery attached to his belt in the back. also shoot in the darker parts of the forest where the dedo will make a dent.

... also watch out for very shiny make-up since skin facing the lens squarely will reflect the ring light easily as sheen not as whiter skin that you are aiming for. boy

ring lights can be useful if the creative's idea of white skin is flat, shadowless lighting where it could just look like an overexposed shot. i would prefer to think white looks whiter in relation to shadows so some modeling ie. sidelighting would allow you to exaggerate (overexpose) the highlights without washing out the whole scene. also 1:2 1 stop 1:4 2 stops 1:8 3 stops

go to a dive shop and check out dive lights. they are specifically designed for deep water penetration. some models throw a very strong spot yet complimented by a wide flood which could help in giving fill to areas not being hit by the spot.

hi, if you are able to follow the sun around, meaning it is always backlighting your angles then all you need are silks to control the amount of fill in front. depending in what part of the world you are shooting in, the sun may stay low in the horizon (unlike here in the philippines where at this time of the year it goes directly overhead at 90degrees) in which case you stage the widest shots earliest in the morning or latest in the afternoon and shooting the tighter shots midday where the height of the sun may not be so noticeable.

hi, precisely because cars are like mirrors it would be most natural to shoot it in available light with the sun as your key light when it is sunny and/or the sky as your softbox when not. also you would get reflections of your natural surroundings like buildings, trees, assuming that's what you want to see of course.

if you have large enough a studio you could lay tracks where the train is supposed to be running, make a train of about eight platforms connected by rope with about six feet distance in between and mounted with whatever light is soft yet strong enough for your need (rope is so that you could decompress and compress your train at either end of your tracks within having to punch holes in the studio walls). worked for me.

why you would use it for normal speed photography escapes me the light output being lower than most film lights. the stobe gives a considerably shorter exposure of light compared to the length of time the shutter is open for every frame, in effect a higher effective shutter speed much like closing down the shutter of your film camera. an interesting use for it is mixing strobes and continuous lights un undercranked shots wherein you would get a blend of sharp and blurry images of the same action.

hi, boy yniguez here. is it possible your mercury vapor lamps were emitting more visible light rather than UV? for shoots that can't source UV lights, hmi's through CONGO BLUE gels would simulate the color.