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Simona Analte

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About Simona Analte

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    Student
  1. Hello, I am interested in learning to become an electric. May I get advice on what is the most basic information that may be expected from me to know stepping into the role of a 3rd electric on set? Interestingly enough, I have always stayed away from electrical power as that was something that always scared me but now I wish to go into learning about this field. I have just recently ordered the Set Lighting Technician book ( waiting in the mail) but in the meantime, can someone suggest me some kind of "breakdown" of some of the major parts that I can get start researching/reading on upon? Such as: 3-phase power, Generator distribution... Advice will be highly appreciated. Thank you
  2. Hello, I am young filmmaker who is trying to figure out the best ruite to becoming a DP. Now I am aware that there is no such thing as one-ruite but I am trying to decide what department should I start learning the craft from, from the Grip side or the Camera? I want to join the local union here in Toronto but cannot figure out which dept to steer to. Taking the camera dep. ruite in the union, I know takes about 5+ years to get upgraded to 1AC, than Camera Op and eventually to DP position. Ive mainly have worked as 2nd AC so far but realized that I am not learning anything about lighting which slightly upsets me. I am very interested in lighting, shaping, giving character and texture to it but I am still amateur. Now Ive recently have done couple of Grip shoots which I enjoyed more doing but am not sure I can physcially handle doing the work for long periods of time, eg. weeks (I am 5'2 female, but strong). I am also thinking of maybe of trying to work in the union as Best-boy/Grip for a job and continuing learning to camera Op on my down time on other small projects since I don't want to abandon the camera side of cinematography. What advice can anyone give me? What are the cons and pros of working on either of the dep in the union? Thank you in advance!
  3. Hello, I am very passionate and eager to learn about cinematography as a craft and I am trying to choose the best school and/or program to study cinematography in Europe ( and only this specific department without needing to also take sound, producing, directing ect.) Does anybody know anything specifically of the school in Poland, the National Film School in Lodz? I have only heard good things about it but only solely from this forum, I am curious to know of anybody's personal experience of this school and the reputation it has in Europe and/or in the film industry? If not, any other recommendations for a strong program/school to study specifically cinematography? Any feedback would be very highly appreciated. Much obliged, Simona
  4. Hello, Young student soon to shoot a short film which takes place mostly at a laundromat, at night Not too sure how to create an; unsettling, tense, cold, bare, dark - mood for this picture. The space is big and has one large window. Shooting on Sony F-3. One of my concerns is that flickering green hue that the florescent bulbs produce. Wondering perhaps if it's a good idea to leave the florescent-tubes as they are( with the green-hue ), apply a "greenish" make-up on the subject's face and then in Post, take-away all the Green ( - ) out. Ive been told that that would "normalize" and balance out the colors. Wondering if anyone could tell me if that is true and is good approach...? Also thinking to minimize some of the bulbs being turned "on" the ceiling (or have just one light flicker), to create that tension, anxiety in the atmosphere. Any suggestions would be helpful and highly appreciated! Thank you Simona
  5. My apologies for not stating, shooting on the Sony F-3. Much obliged
  6. Hello, Young student soon to shoot a short film which takes place mostly at a laundromat, at night Not too sure how to create an; unsettling, tense, cold, bare, dark - mood for this picture. The space is big and has one large window. One of my concerns is that flickering green hue that the florescent bulbs produce. Wondering perhaps if it's a good idea to leave the florescent-tubes as they are( with the green-hue ), apply a "greenish" make-up on the subject's face and then in Post, take-away all the Green ( - ) out. Ive been told that that would "normalize" and balance out the colors. Wondering if anyone could tell me if that is true and is good approach...? Also thinking to minimize some of the bulbs being turned "on" the ceiling (or have just one light flicker), to create that tension, anxiety in the atmosphere. Any suggestions would be helpful and highly appreciated! Thank you Simona
  7. Hello, I am shooting an Interior Night scene at a hallway and Im having an issue with how to go about lighting it. I can only shoot inside of the building during the day. It’s an open-sky roof. Daylight spills right into the hallway. What are some ways I can block the light and make it into a night scene? Perhaps to use a muslin..? It also has a very tall ceiling. Wondering what are some ways I could light it? Any advice would be highly appreciated!
  8. Hello, I am shooting an Interior Night scene at a hallway. Wondering what are some ways I could light it? At first the subject will be stepping into a hallway of an apartment, walking down a long corridor and finally entering the kitchen. In the hallway there is no windows, just one practical (main motivating light?) When the subject walks through the corridor, it's pretty dark there (what could be the motivating light?) finally entering the kitchen.. Wondering what are some ways I could light this? Thank you in advance,
  9. Thank you all for your responses! Much appreciated. Ian, I actually have quite a bit of space to work with thankfully :)
  10. Hello, I am shooting my first project soon. Im shooting Interior Night Scene in a bathroom. shooting it on Sony EX1. I am not using the DOF adapters and so my question is, how can I achieve of getting a Shallow Depth of Field on the Ex1 while shooting in a low-light conditions? Using the ND filter will require to have a lot of light, I guess Im wondering if that would look "natural" on screen, blasting all that light when in reality the scene takes place in a dark bathroom? Any possibilities in post? Any thoughts, advice would be highly appreciated!
  11. Thank you kindly for your answers :)
  12. Hello, I have recently purchased a Sekonic L-398 light meter and I am having bit of trouble understanding how to take a reflective reading from it. Does it work the same way as taking an incident (Lumisphere) reading but with the Lumigrid instead? What is the biggest advantage of taking a reflective reading? How does one have a better control over highlights and shadows in this instance? Any help would be highly appreciated, thank you
  13. Hello, I have recently purchased a Sekonic L-398 light meter and I am having bit of trouble understanding how to take a reflective reading from it. Does it work the same way as taking an incident (Lumisphere) reading but with the Lumigrid instead? What is the biggest advantage of taking a reflective reading? How does one have a better control over highlights and shadows in this instance? Any help would be highly appreciated, thank you
  14. Is it true that in order for a cut between focal lenghts to work, there needs to be a considerable different between the frame sizes? Like a Wide-shot cutting to a slightly Closer-Cut will appear weird whereas a Wide to Close-up will work. In that case I would have to cut from Master straight to Close-up with same f/stop for the cut to be smooth? Would the continuity be right though? I will be shooting a short project soon and I'm a bit nervous of using different focal lenghts. For Master Id like to use 28mm, Medium 50mm and for Close-ups 75mm. Shooting mostly in a tight space on 7D. What are the Do's and Dont's of shooting with different focal lenghts? Any advice would be appreciated, thanks!
  15. Thank you for the advice! I'll keep it simple. Thank you
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