Kyle Stueve

welcome, I would start by trying to get on as many sets as you can, and when you are not doing that, reading everything you can. Most of the questions you asked can be answered by browsing through the fourm. There are many talated cinematographers here to help. So soot, read, and practice, and of course browse cinematography.com, ha Kyle

Hey, I completely agree with you, I love all that, I think that is what got so may of us started in the first place. I just think it should never take back seat to story telling. Thanks a lot

I see the complicated kitchen lighting setups, and the comment someone made about how the grip set ups are art in themselves reminds me of something Gordon Willis said. "people get so caught up in the process and really forget it is a means to an end" I agree that people, it seems are so caught up in the equipment to make the film rather than the film itself. I think as cinematographer we should never get more caught up in the tools and forget about what we are really there to accomplish. That’s just my two cents, I don’t mean to offend.

No, I would recommend not removing the glass from the adapter. Even if you do screw with it and remove it, you risk realigning it wrong. This could lead to more serious problems later because of that as well. The glass is the purpose of the adapter and is what you use to get the DOP, I would only imagine getting a magnified zoom effect. Bottom line, opening up the adapter is not smart.

thank you for your responce. I have requested a 2k at least for night scenes. I agree with gelling the windows and difussing them. With the RR encore there is about 1/2 stop of light loss, maybe another 1/2 with the zeisses. I am going to pump up the ambient light in the room. I figure I will use 1/2 CTB on my lamps inside to balance for the daylight preset (for day scene). I am going to see what works best for the night scene. How can I make the 2k appear to be a blue'ish moon. Just 1/2 CTB the 2k (light loss reasons)? thanks Kyle

Yeah, I see what you are saying, we might be able to get away with 1/2 CTO, but having to gel the window would be better, I agree. thanks for your reply

because most of the light in the room is day light mixed with a few arri's, I would rather do that then have to CTO the big window, when I can CTB the lamps im using. right? kyle

Okay, I am shooting a scene in a bedroom with the main source daylight with a 2k shooting through the window, and going to shoot 5500k preset on the hvx200 w/ redrock. So if I want to have my arri Fresnel’s (wich are 3200k) match my preset, I would full CTO them??? Right? and for the 2k would I CTO that to match that as 5500k?? And the same at night, with the 2k my "moon" (shooting at 3200k then) I would full CTB it right? thanks a lot Kyle

here is the pic http://www.flickr.com/photos/kyledslr/3475496430/

Okay, I have a few question about this lighting setup and all of your input would be much appreciated. I am shooting in this bedroom next weekend a drug overdose scene on the bed and the look is suppose to be very almost flat looking and kind of gross, as in not pretty. Also the same room needs to be lit at night. What color temp preset should I shoot at if I am probably going to shoot a 1k (all we have of that size) through the big window and maybe an arri 600 with full CTO to in front of the bed bouncing it on foam core. Is that a good move? Should I shoot 5500k preset if I’m using all day temp lights? And the second shot will have to be at night, my only practical will be the bathroom which is located about 6ft behind where I am standing to take the picture. Should I rely on a "moon effect" through the window for illumination, as the actor will be on the window side of the bed on the ground, maybe a bright practical where the bathroom is for more illumination. The actress will walk out of the bathroom and walk in and see her boyfriend dead. Is this the right approach? My lighting kit will be limited due to budget, like a 1k, 3 600 arri Fresnel’s, scrims, foam core and maybe a few lowals. and flags. Camera is HVX-200 with redrock encore thanks so much

yeah, I am going to do a master shot of them on the couch, or whar ever, and revel the light coming through the window (with haze). Then we will move in for our close ups on the actors faces and I need the source to be strong enough, but I already know the other side of their face will need some light and/or fill. Granted we can move the ligh closer for close ups, but I like the idea of little light. Shooting on HVX 200 w/encore redrock. Thanks all of you guys.

hey, I live in San Diego and would not mind helping out as an AC or something, let me know man. I do DP work but always looking to help Kyle

Yeah normally I would not use that light as key, but this scene is a party scene where the house lights are off and I need some primary source for illumination, they will be sitting on a couch or something, after partying, that type of feel. Needs to have a dramatic edge with nice harsh shadows. I just need something on the side of there faces like "moon light" and we can fill in with flex of foam core.

Hello all, I need to create a shaft of "moon light" through a window of a condo or apartment at night to provide a nice key or fill on the actors faces. I am going to use a fogger to help with the visible shaft, but I don’t know what type of light to use since HMI's are slightly out of the budget. I am thinking like a 1.2 or 2k source, but not real sure. Can we use multiple lights, something that will look as realistic to moon light I guess would be favorable. Camera being used is HVX with redrock encore, p2. all info and suggestions would much appreciated, thanks a lot.