Jump to content

Eric Clark

Basic Member
  • Content Count

  • Joined

  • Last visited

Community Reputation

0 Neutral

About Eric Clark

  • Rank

Profile Information

  • Occupation
  • Location
    Los Angeles, CA
  1. A common method I learned from others and use frequently is to place strips of black masking tape over the bulbs. Works well and is very quick.
  2. I don't know which one for sure, but I've certainly got a top 5. Roger Deakins Vilmos Zsigmond Christopher Doyle Mathew Libatique Harris Savides
  3. If it's an open field, and a bright sunny day, you may not need any HMI's, just bounce boards and mirror boards. A program like Sunpath might help you track the position of the sun, or you might try checking the location out at specific times of day to see what the light looks like. Of course, it'd probably be best to not shoot at noon with the sun straight above you. Does that help?
  4. Placing that fan on a dimmer might be the trick.
  5. The book "Image Control" showcases the effects of many filters. It may be what you're looking for. The ASC bookstore sells it in some pretty keen package deals.
  6. It's an easy effect to achieve, but if you ask me, she's lit with white light. Her hair is most definitely auburn, and her cheeks from makeup seem a bit orange too. I don't see a lot of orange in that original image though. The practicals will naturally have a bit more hue. But if you want an orange or brownish tone to your image, capture it in camera! A simple filter will do the trick. If you're on Tungsten film throw in an 85 or two. Tobacco filters and chocolate filters are worth eyeballing also. If you want to control the orange hues on set, then a simple choice of gel such as CTO or CTS would suffice to create these colors. Of course, test everything first. Then you can choose the look that best suits the film. Here's an image from a film my buddy shot for me, you can see the orange on the skin tones very clearly. He utilized the 85 for this.
  7. The qualities of these paintings that strike me the most are the rich blacks, desaturated colors, and the "soft" qualities created by the watercolor seeping into the paper. In this regard, I would choose a stock with rich blacks, avoiding stocks which dig deeper into the blacks. In addition to this I might pull the stock to draw some of the color off the emulsion. For the softer qualities of the water color, you could play with a variety of filters... White Mist, Soft FX, or Double Fog could all be tested.
  8. Eric Clark

    Go green

    I don't know what kind of thunderstorms you get where you are, but if you could catch this at the right time, I'd shoot it as is. Texas thunderstorms can get nasty, but I wouldn't dub 'em to be dangerous, at least not when they're a couple miles off - as it seems such in this photograph.
  9. Sorry, I researched the above on my own. Ignore please.
  10. Is flickering in modern flouro fixtures an issue? Shooting in a hallway full of modern flouro's hasn't proved a problem for me thus far, but I could be missing something important here!
  11. I'd recommend investigating Kodak's newer 500T stock. It's excellent for situations like the one you're describing and has great latitude in the toe, giving you excellent depth in those blacks which will inevitably creep into frame.
  12. First post, but I've browsed the boards for awhile. Awesome topic. The still I've posted is from a short film I shot on Fuji Eterna 160T (8643). The lighting setups is as follows: 1) A homemade chicken coop hanging from above the table with 6 150 W Bulbs gelled with bastard amber. 2) Standard work light with full straw punching the background wall up. 3) 60 W bulb in the practical fixture on the subject's left. 4) Double scrimmed tweenie at camera right up high keying on the subject's face. There are more photos and stills from the shoot. This shot was shot taken on Fuji 100 Speed still stock and the only difference I've noticed from dailies is the dailies are about a half stop under this photo. In the dailies the "007" on the box in the background falls into black and her face appears 2/3 under or so. It looks much the same but her face is not overexposed. Fuji doesn't lie when they brag about the level of clarity offered in this stock, the colors were pure (although the reds look slightly different than pictured here), and the image was very sharp. Hats off to Fuji and my first AC. Eric
  • Create New...