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John Miguel King

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Everything posted by John Miguel King

  1. Forgive my ignorance, what would be the advantage?. Does it work better within this range? This is what we're after (with colour!).
  2. Mate, thanks so much for your reply, and sorry for taking so long to return here. I've had a hectic time with other projects. I decided not to build an overhead setup as it wouldn't create the sort of light I'm after, direction and falloff would be plain wrong. I've made an alternative plan. We're going to have two blondies crisscrossed outside the main window, another one diffused with a 4 x 4 high above the window, a couple of diffused redheads from the camera's position to even the contrast and a smoke machine. The director wants the image to be high key and with very little contrast. To finish it off, he wants the window to 'glow'. Was thinking of rating the RED at 600, or even higher. If I'm not wrong, in film this would add a halo of sorts. I'm also concerned with RED's ability to pull detail from the window, as it'll be covered with a net curtain. We're going to run a few tests on Saturday, see how best to get this look. I promise to upload some screengrabs.
  3. This is my first post in this forum. I'm amazed with the wealth of useful information available here! So, we're filming a short on RED in a couple of weeks, my first RED experience. It is all studio. I want to try and spend as little as possible on kit, as the budget is pretty limited and I can source a few lights for free. I can get: 3 x 150 DEDOS 3 X Redheads 2 X Blondies 1 1000W softbox I'm thinking of hiring a diva-lite and there will also be a few practicals. Apart from a recurring flashback shot in the forest, the story takes place in a bedroom and a living room. We've day, night, afternoon, evening ... the full range. The story is about a couple trying to rekindle their love, with not much succes at all. The set has a window which I intend to use as my key. This window will be covered by a patterned white curtain, lit by a blondie (I'll get an HMI if I have to, but it's a seven day shoot and it would mean a week on sandwiches for the whole crew). This, and the dark grimy edges I want the frame to have (similar to the scene in Barry Lyndon where he's stone drunk at the gentleman's club), have made me think that I might do well by having a massive overhead softlight with which to even the exposures between the window and the walls. I also want the camera to move freely. It's either this or bouncing, but boncing would cast shadows, and there's no practical on during the day, as they spend quite a lot of time sitting on a table that is placed right by the window. So, and this is the real question, I've thought of building a rig with a serious amount of either PARs or spotlights, and placing a layer of diffusion underneath. I reckon it'll far easier to control the spill on the walls than if I hang an equally serious amount of chinaballs. The director wants deep focus, so I need light, plenty of it. What do you think?. Also, any ideas on how to get photometric information on par 38 100 W? Thanks!
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