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Stuart Brereton

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About Stuart Brereton

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    Cinematographer
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    Los Angeles

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    https://www.stuartbrereton.com

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  1. Remember that sodium vapor is a monochromatic source (or as near as makes no difference). Those lamps only emit light in a very narrow range of frequencies in the yellow/orange spectrum, and are far warmer than tungsten. You'll be trying to add gain to the blue channel, but there is no blue light in sodium vapor lamps. That will make white balancing it to look cold much more difficult, and will introduce a lot of noise into the blue channel.
  2. It can be done. You'll need to WB to about 2000k, maybe even lower. This will cause a big imbalance in the gain applied to the RGB channels in your camera, so it probably won't be correctable without introducing a lot of noise if you change your mind. Also, tungsten streetlights are extremely rare in the UK. Almost all were replaced by sodium vapor many years ago, and more recently by LED. Are you sure that you've got that right? It might make a difference.
  3. If the guys from Slice of Life can do it with a Blackmagic Production camera, so can anyone. It's all about getting that texture in front of the lens. We used to do that with low budget music videos. Always had haze or water or dust or glass or something to dirty it up.
  4. I've posted before that I think other DPs have created looks that are much more in keeping with Blade Runner. Paul Cameron's work on Total Recall has a dirty, gritty edge that would seem perfect for BR. Cameron achieved that look by seeking out the oldest, funkiest glass, and embracing its faults.
  5. Panavision, perhaps, do not court independent filmmakers purely because they don’t have to. I’m sure they have more than enough clients who are willing to pay closer to the rate card. Profit margins are pretty tight in the rental industry, and no company really wants to be doing crazy deals. Panavision are in privileged position where they don’t need to. That said, if you know the business reps, deals are possible. Like so many things in this industry, it’s all about the relationships you have with people.
  6. I don’t disagree, but given his preference for modern sharp glass and dislike of flares, even if he had used anamorphic lenses, they would likely have been Master Anamorphics, and not an older type with some texture.
  7. He apparently prefers the look of cropped spherical, so unless a director says otherwise, I'd imagine he does what he wants.
  8. As in, supplied by Arri. But you knew that.
  9. There's no rule that says you have to point the dome toward the lamp, in fact generally you would point it toward the camera. This would give you a reading of the light that is falling upon the subject from the camera's point of view. It's therefore giving an averaged reading of all the light at that point. Angling the dome towards the light gives a reading that is much more weighted towards that particular lamp. This is useful for determining contrast ratios. Whichever technique you use, you still have to interpret the readings in order to get the exposure you want.
  10. He frequently uses multiple bounces to wrap the light, rather than using fill, but I've never seen him use curved pipe or heard him refer to it as a "cove". It seems to be more of a description that other people use when referring to some of his setups. Cove just means a concave shape. It's not some magical lighting technique.
  11. I'm not sure what you mean by "cove lighting", but you'll get more output from LEDs by bouncing them off muslin than trying to shoot through it. It really doesn't matter too much what lamp you use for a bounce source. It's common to use a high output lamps purely because bouncing is an inefficient way to use light, and you lose a lot of output, but any lamp can be bounced. There's also nothing particularly special about muslin as a bounce. It's non specular, but then, so are cotton bedsheets. Unbleached muslin lends a slight warmth to the light which is often pleasing to the eye, but that
  12. Real moonlight is about 4300k, so tungsten with 1/2 CTB or HMI with 1/2 CTO gets you into the ballpark when balanced for 3200k. HMI is easier because of higher output lamps and less light loss from CTO vs CTB, but given the choice I'd probably opt for a large tungsten unit with either 1/2 blue or one of LEE 601/602/603 which have an almost gray/blue feel. I also think sometimes that moonlight looks better if it is slightly softened. Real moonlight is obviously very hard, but it's so dim that it's hard to see contrast. Softening artificial moonlight helps to create the impression of a lower con
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