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About jeff woods
- Birthday 02/17/1974
Profile Information
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Occupation
Other
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Location
Portland, OR
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My Gear
Canon 5D, Canon C300
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Specialties
AutoCAD layout, theatrical lighting design
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Website URL
http://anomalight.com
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Hopefully others will chime in, but all light has the same fall-off: twice the distance from the source, 1/4 of the light (inverse square law). What comes in to play is size the source in relation to the subject. A PAR64 is essentially a point-source, so the shadow edge will be harder than a larger source like a Kino or a PAR through a silk in the same position. That said, a Kino from a large distance becomes a (very dim) point source too. To get a nice wrap around light with quick fall off in the background, the light would need to be a large source close to the subject. I'm struggling to explain it better without images, so hopefully more well spoken people can chime in. Hope that helps, -j
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Aerial shots in The Place Beyond The Pines
jeff woods replied to Manu Delpech's topic in On Screen / Reviews & Observations
...or a cable cam, now that I see your subject line. -j- 3 replies
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- The Place Beyond The Pines
- Sean Bobbitt
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(and 1 more)
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Aerial shots in The Place Beyond The Pines
jeff woods replied to Manu Delpech's topic in On Screen / Reviews & Observations
For the street scenes, it could have been something like this: http://gizmodo.com/5839932/how-hollywood-captures-its-most-insane-and-incredible-chase-scenes-kerblooommm For the forest shots, it may be as simple as a rig mounted on to an offroad 4x4-type vehicle. -j- 3 replies
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- The Place Beyond The Pines
- Sean Bobbitt
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(and 1 more)
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Rotating body mount in 1983 film "Angst" ?
jeff woods replied to brian brookshire's topic in Camera Operating & Gear
Maybe I'm repeating something, but at 1:51 there appears to be a still of the rig used... -j -
Lighting a streetparty from dusk -> night
jeff woods replied to Haavar Karlsen's topic in Lighting for Film & Video
Is this time-lapse? I don't understand why you need to pick a single CT? -j -
ICG gets all the love...no American Cinematographer subscription? -j
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Robert Richardson shot this, and one of his "trademarks" is using PARs as a harsh toplight/pool-of-light. In that photo (understanding that this is purely my interpretation) it looks like DiCaprio is standing halfway inside the beam, and the fill on Kingsley's face is comning from DiCaprio's shirt. He is also getting a rimlight from the same PAR, just not as directly as DiCaprio. The fill coming from the camera side could be bounce from the floor, or an actual bounce (showcard, muslin, white reflector). And by keeping the ceiling lights in the background, he motivates (read: explains) where the light is coming from. Again, one man's opinion, -j
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Bulb variations between manufacturers
jeff woods replied to Dan Goulder's topic in Lighting for Film & Video
I have had great success with Ushio, specifically their HPL575 vs Osram's version (it's not as clean of a light IMO). -j -
Wrapping Light in Meet Joe Black
jeff woods replied to Stuart Allman's topic in Lighting for Film & Video
I would say no more than showcard, unless you mean because it's transmissive vs reflective, so the heat gets "inside" of it, so to speak. -
The latest issue of American Cinematographer is also a great read and has better BTS photos than the ICG article (in my opinion). -j
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Possibly a pola to bring out the detail in he clouds. -j
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Lighting interior tennis court
jeff woods replied to Joseph Murphy's topic in Lighting for Film & Video
I'm curious what look you are trying to achieve; are you not wanting to make the indoor court look like an indoor court? -j -
Nike Wushu Commercial - How was it lit?
jeff woods replied to Mike Bao's topic in Lighting for Film & Video
A teaser (at least in theatre) is a wide but short soft good (drape, duvetyne) that can be flown in and out to create a very wide shadow and eliminate spill from the actual face of a fixture. The top source, in my opinion, is two Fresnels. No actual front source, just bounce from the floor. -j -
Nike Wushu Commercial - How was it lit?
jeff woods replied to Mike Bao's topic in Lighting for Film & Video
To my eye, it looks like a pair of Fresnels (not more than 2K?) about 6-8' apart, slightly behind the talent, just out of frame (12' trim?). The floor looks to be a matte black treatment (reads gray when lit, but black in the shadows). The fill seems like it could come from the floor itself. Black rags to make the background disappear (well, that and the exposure), and probably another teaser or two to keep the lamp flare from spilling too far into the BG or FG. One man's opinion, -j