Tim Wu

Ooh, very nice. But why umbrellas as opposed to grifflons or bounce boards? And sorry if this a novice question, but what K par is a "firestarter" par? Thanks!

Haha, thanks for everyone's contributions! And sorry for the confusion on everyone's end. (You all can just call me Wu, btw. The two Tim's is confusing, haha. All my friends just call me Wu anyway~) I had asked about the second fill because I haven't had any experience lighting night exteriors, and in my research, I came across that clip from Ghost Town, and thought that a smaller fill opposite the source of the moonlight would be needed to light features. I was just wondering how much the Maxibrute set-up would wrap around the face~ Of course, how much of the rest of face lies in relative darkness I'm sure is a stylistic choice. And for the mood, I'm sure the director would prefer the darkness, as this is a slasher short. SO, my question (so there's no confusion, haha): - I've never used this MaxiBrute set-up before, but it seems that's the direction I'm leaning currently. Is it possible for this to be the only source of moonlight? Or is a second smaller fill opposite the set-up recommended for an even lighter fill, or to be eye light, such as Tim Healy had noted~ - Stocks wise, I'm leaning towards 7218 or 7219 (if we can afford it). I've read a lot about underexposing and pushing, etc. etc. But I've never used these techniques before, and am wary. Haha. Could someone give me the lowdown on this? Or should I move this to the film stocks forum? Thanks again everyone!

Hi all, student here~ So just to make sure I'm getting this right, this effect can be achieved by stacking polarizers?

CoolLights also sells 4 bank flourescents that are similar to kino-flos but a fraction of the cost~ http://www.coollights.biz/index.php?osCsid...4a198fa03ee5b48 Along the same lines, has anyone compared the performance of these to kinos?

I was considering that too (the silks). I saw some behind the scenes footage of Knocked Up and that was how they did their moonlight. which was a set up that was a too bright for the mood that my particular scene is going for. To punch through instead of bounce would mean I'd have to get the lights up to the height of the silks though... and haha, I know, I know, a proper grip will make it work, but still, being a student production and all, I'd like to cut down on all possible risks~ such as a maxi-brute extended 25feet in the air. At lease by bouncing, I wouldn't need to raise it as high... I wish we had the budget for balloons, haha.

Thanks David! I'll talk to the director and work out the specifics of the scene. As you know, everything is still in early early preproduction, so I actually don't know what my budget is yet. I'll start compiling a wishlist of this set-up though~ I'll create other threads for other scenes, haha. Oh, and in terms of bouncing light, since the maxibrute will be bounced, why not the ruby 7 over the maxibrute? wouldn't a more focused beam mean a stronger bounce? (sorry if this is an obvious question. i've never worked with either of these lights, just know of them)

Yeah, that was my main concern. I'm not sure how windy the location gets, but better safe than sorry. I'll probably go for several smaller grifflons as opposed to a couple gigantic ones~

Haha, well in any instance, ruby 7 vs maxibrute? a more direct beam would mean a stronger bounce, no?

Haha, oh man. Small world~ Thanks! 12 x 12 Grifflons (i assume that's what 12x means), would be hard to raise up and angle down, wouldn't it? Even though it is a general fill, isn't the angle apparent?

"Cinematography" by Kris Malkiewicz and David Mullen "Cinematography: Theory and Practice" by Blain Brown Those two are very solid books on cinematography. They're required reading for my camera classes at NYU.

Ooh, thanks everyone! Any suggestions on the fill? If you check out this behind-the-scenes clip from the new movie Ghost Town, http://www.traileraddict.com/trailer/ghost...hind-the-scenes 53 seconds into it you see a steadicam shot where a grip is hollywooding an interesting ballon like light. Anyone know what that is? Of course, that kind of kicker may be a little bright considering the scene there is in a city setting, full of lights coming from all sorts of sources. But I plan on the moonlight serving as a backlight primarily. I can have the face fall in and out of darkness as he walks across the street, but any ideas on a gentle fill coming in from opposite the moonlight?

Is there a stock that you guys would recommend for night shoots like these? I know the director is given an allotment for the class, but he doesn't know what stock is provided yet. So it might be our choice~ And 9Lights? Like a maxibrute? Also, if you guys have any other suggestions on lighting a scene like this, do let me know! I'm all ears. Thanks!

Hey everyone! First time poster here~ I'm going to be DP on a short film this summer, shooting on 16mm. It takes place entirely at night. The main shot I'm concerned with now is a Glidecam shot that follows the main character as he walks from a van across the street to the front of a house. Of the various lighting techniques I've read so far, ideally I'd rent balloon light, but I hear they run close to $1000 a day. So it's a little out of the budget. I came across a set up where a bead board is a attached via duck bill to an arm, which is attached to the combo stand that's raised as high up at possible. The board is angled around 45 degrees towards the ground. A par is then sat on the ground on a pigeon stand or the like, and shot up toward the bead board. Sounds like a very cost-effective solution, but I was wondering what strength hmi par is recommended for this? This light will serve as general ambiance and back-light. For a fill, I'm considering somebody hollywooding a LitePanel at an opposite angle, walking with me as I shoot. Any suggestions? Thanks everyone!