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Ross Wilson

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About Ross Wilson

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  • Birthday 01/19/1978

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    Southampton, UK

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  1. I've been looking for the original Arri shoulder pad that sits flush with the base of the SR3 for a while now and can't find one. Does anyone know what a good modern option would be that won't lift the camera too high off the shoulder?
  2. Hi guys, I've got hold of an Arri SR3 and the thing is much heavier than I expected. I used to have An Aaton LTR54 a while ago and distinctly remember it being significantly lighter. I've looked up the spec online however and they don't seem that much different. Has anyone here experience of the SR3 and Aatons, and can you attest to whether there is a noticeable difference in weight? For instance I've seen people online holding the Aatons one handed by the hand grip with the camera tipped forward, you could never do this with the Arri. Any help would be really helpful as th
  3. Thanks again for everything. I've found a couple of things I think will help get me going, works out cheaper than lights and will useful in a lot of projects. Going for a sunbounce: http://www.sunbounce.com/cms/index.php?id=..._ttproducts_pi1[backPID]=502&tx_ttproducts_pi1[product]=392&cHash=e52d309a9b And swatter: http://www.sunbounce.com/cms/index.php?id=..._ttproducts_pi1[backPID]=504&tx_ttproducts_pi1[product]=401&cHash=e32352f923
  4. A little more guidance would be really appreciated.. I'm going to forget lights to make my talent look good in daylight.. and so I found this: http://www.lastolite.com/skylite-kits.php ..to act as a diffuser and add some reflectors in too. I'm a little worried though it's going to effect too small an area, what do you guys think? To be honest if this doesn't work it seems the only thing that will is a huge crew and budget so I'm thinking of just shooting with nothing and forgetting about doing anything with the light.
  5. Well thanks for putting me straight guys before I blew a load of money on lights. Gonna have a look into the diffusers and reflectors, saw some over Westcott that look good, also some scrim jims that might come in handy I'm thinking. Cheers
  6. I wanted to keep the crew right down, as in me and one other guy off camera. I guess I could do bounce and use some stands, and yes I did want to track with the talent on some shots.. I was worried about wind and lack of hands ultimately. If you guys are saying I'm gonna waste a whole lot of time and money with that kind of power output then I suppose I'm going to have to use bounce. I suppose I'd need a genny and some large HMI's if I were to use lights then..? Any other ticks of the trade for softening sunlight? Thanks
  7. Hi, if anyone could help me with this I'd be grateful. I'm looking for some portable battery powered lights that are going to act as fill to the sunlight on a summer day (UK). I want to eliminate or soften the shadows the sun causes on my talents faces. It's only a small project with 2 actresses. So far I've looked at getting a couple of PAG L24 bashers with a battery belt or a 12V Dedo kit running off a car battery booster each. I've seen on board lighs by Sachtler, Dedo and Pag but presume these aren't going to give as much coverage. Ideally I could provide a fill from around
  8. Thanks Frank and Michael. Eternal Sunshine was actually the film that made me think I could do the lighting this way, I read the article in American Cinematographer too! I remember there was mention of high power bulbs in in practical fittings. I think they also used 2 cameras for most of the shooting, back to back stuff. So plan A, B and C and get the right location, presumably the best location would simply require only supplemental lighting? I've DP and directed my own short projects so far and as a photographer I've always gone for a location because of the light already there
  9. Thanks, I'll make a note of that. Losing the separation from the shadow half of the face to the background in moonlight shots is a concern, but I like the idea of layering back to front utilising varying strengths of light from side windows. Whilst I have your attention Michael, could you give me your opinion on pre-lighting scenes even a month or two in advance of shooting.. I think it was you who said "Fast, cheap or good" pick two. If cheap and good means slow, then how about turning up on set to light everything the way you want, check exposures, crude blocking then take details of
  10. Hi, I wonder if someone could give me some ideas on the kinds of lights I'll need for the following set up: I have some scenes where the camera needs to stay at a mid-wide shot from the subjects and then move with them within a room. Two scenes are indoors but lighting is motivated by moonlight only and the other two scenes are motivated by standard tungstan practicles. The idea is to be able to move in a reportage fashion with the subjects in longer takes than usual, ideally we'd still retain something better looking just managing to pull off a decent exposure. Any ideas o
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