Vivek Marimuthu

http://real-eye.blogspot.com/2009/11/crew-...ing-cast-36.htm

Hi,

My Short film made for fly-by-night video challenge 2009. Kindly critique it please. The topic given was called "Pain" and we were given 36 hours to make it. I did it with a crew and cast of 3 members

Vivek

Hi Vivek. Post a screen grab when you can...

Hi,

I am not sure of making a screen grab. The whole short is just 3 min and the last sequence is what I am refering to . Can someone help tell me how to make the screen grab to help me please?

http://real-eye.blogspot.com/2009/11/crew-...ng-cast-36.html

Let me take a guess. the hall way is probably about 3 to 4 feet wide and atleast 10 feet long leading into a room into which the next shot is to be played. The hall way is about 8 feet high. So you need to show the detective entering and passing through the hall way to the next room.

This is the scenario where you might have had the camera causing shadow....

Assuming these, I would have lit the hall way from one end - creating a shiloutte effect on the detective.

other option is to place the camera and lights next to each other and face the lights away from the camera and partially bouncing off the ceiling or roof depending on the effect needed. I would have used 2 800W Freshnels in flood mode to light and depending on how reflective the wall and floor were, could ahve been a 650 or 1K...

Well, many assumptions made but hope it gave an idea ...

Questions regarding thoughts on contrast ratio. Specifically for comedies, but reply with any thoughts.

 

I see even lighting on faces and 2:1, 4:1 ratios. Obviously a high contrast ratio (noir) denotes and split/ fragmented state of mind (possible). When are the ideal moments for little contrast? Or slight contrast? Are there any flat faces in professional lighting? Or is it just slight enough that my amateur eye is not reading them? I'm trying to get replies regarding the psychological feeling that accompanies various facial ratios. Specifically in a natural style. How to further convey ideas in a less stylized manner.

 

My wording may be a bit vague if anyone would like to take the reins and steer this thread in a good direction.

 

Thanks.

Youa re right in telling that higher the contrast, the more fragmented state of mind is represented. However, as in most rules, there are exceptions. You could use a high contrast ratio to express a state of mind setting in or clearing out. In normal lighting situations of a shot showing only the face (a CU), care is taken to light evenly. It is very rare to see contrast ratios in these situatios unless intentionally setup that way.

Hope this clarifies

I did a short in a cramped apartment and the shot was of the talent looking at a string of photo negatives. A bedroom was converted to look like a photo dark room. I used a c to cut off the light from the key to the talent and bounced it from the opposite wall of the talent and another light to fill in bounced form ceiling. it kind of created a directional light effect which was required for the shot.

Vivek

You have to cut it as Mr. Jenson says... have some 4x4 Solids with you. Great Info Here.

 

Vivek, per the rules of this forum, please go to My Controls and change your screen name to your first and last name.

 

The Members thank you in advance.

Hi David,

Thanks for the note. I have updated as per the forum rules...

Vivek

Hi,

This is my first attempt at making a trailer for a short film. This film is based on Ancient Chinese Martial arts and its first of its kind to be made at Singapore.

Your comments and views will help me a lot. Thanks in advance

http://real-eye.blogspot.com/2009/10/fores...lm-made-in.html

Hello

 

I am a student of cinematography from India and am going to shoot a short film soon on ARRI 16 SRII or ARRIFLEX 16 BL. Now, its a night setup with ample amount of light coming from window. I am planning to use tungsten (fresnel and open) 600W-1KV bulbs for interior lighting. For lights to be used in EXT that could be light coming from a street lamp or a tube light outside a window, I want to know what kind of lights I should use to differentiate between color and tones of INT & EXT.

 

Either I should go with HMI's (2.5KV-5KV) or I should go with cellophane coloured gels on tungsten only.

 

I don't have the facility of a color temperature meter so cant exactly set the color tempreture or use gels accordingly.

 

Help will be appreciated.

 

Shashank Walia

AJK MCRC, JMI, India.

If you want to get the effect of a spill light from a streelight outside, you can use a combo of two 1K lights from with a CTO on the barn doors and placed side by side. Place it about 5 Feet from the window and angle it down from just at the upper window ledge.

If you want to emulate a floursent light outside the window, use one 2K outside with a CTB on it and placed at same position as above. You should be able to get the desired effect.

An UV filter with thin vaseline coating on it will create the same effect. The same effect can be achieved by using a clear plexi glass with slight cracks on it - you can get slight cracks by dropping some coins on to the glass... careful not to drop many, you will have to experiment a bit before achieving it... all the best

Hi,

If you are doing the shot in the interior, you could bounce the light from the ceiling. If you are doing the shot in the exterior, you can place the light close to the subject and bounce back on the subject... it will help redue the spill.

Vivek

Hi,

I would like to know how to film double actino role of a talent in a single frame? It is a shot where a talent is meeting his second role played by same talent. There is a hand shake and close conversation involved, happens inside a house.

Vivek

Hi,

I guess the script is good. For lighting in the first scene, you could use a color corrected light with a flicker to get the TV flicker... The lighting for the first outdoor shot can be done by placing your subject on the higher end of the grey scale.. meaning if the sky is is at f2.8 and your subejct is at f8, then try to place your subject at f4 and conseuqenlty the sky will move up... will be bighter and still get your subject within the curve.

Hope this helps

Vivek

hi,

I am looking to atttend this 4 weeks and wanted to know if there is anyone who has attended this course earlier. Can someone share their experience on this course please

Vivek

I didn't really understand how the NYU Certificate Program worked when I last posted. What I was referring to was the "Cinematography Intensive" program, which is most likely designed for people with less time to dedicate to classes. It's 5 days a week for 4 weeks in the fall. They have a different option that encompasses two fall classes meeting once a week each for the whole semester, and another 3 choices for classes in the spring.

 

http://www.scps.nyu.edu/areas-of-study/fil...matography.html

 

That's the link I got the info from. It's something I'll have to look into a lot more, but it seems like a decent alternative.

I am interested in the intensive course. My background is that I am working full time in the financial services world and want to learn Cinematography. I have done a few shorts and TVCs but cannot afford the time for a full time course. Would this intensitve course help me? my portfolio is at www.real-eye.blogspot.com to give a view on where I am currently.

I had done a night shot and used LED panels taped to the dash board and glove box. Infact, I opened the glove box and taped a led panel inside it and one on the cover of the glove box.

If I were to attempt to light the car, I would first check the direction of the car's movement - n/s/e/w. Depending on budget, I would either go in for a towed rig platform or use Kino inside the car and power it up using the car cigar lighter panel...

Vivek