Tim Sutherland

I'm pretty sure Rodrigo had them build in the fixtures where he wanted since that location was a huge set across two stages that he got to help design the practicals. I'm not so lucky. I don't want to hang fixtures, even though we won't see the ceiling most likely because by the time I hang something, it's going to get low fast and not be as soft as I'd like, except maybe a Kino. I'm thinking I will either break down and rent Kinos or maybe some source-4's like David suggested. Since I don't need daylight source-4's, the tungsten ones are fairly cheap to rent and I could use beadboard or foam core to shape where it bounces from. That might be easy to set up and work with on our tight schedule. Thanks for the suggestions.

I'm going to be shooting a short in a small (13' x 17' room with a table in the middle and windows on one end. It has a drop ceiling with 2 2'x4' fluorescent lights in it. However, they're not in the places I need them for giving my actors soft top light. I'm looking for something like these shots from State of Play, photographed by Rodrigo Prieto: So I was thinking of a few options: 1) Replace the overhead floros with kino tubes, tape kino tubes to the ceiling where I need them that they don't exist. 2) Remove some ceiling tiles and put a 1K/650 with a small chimera as high up as I can get it and shine it down. 3) Remove some ceiling tiles, put some 1ks up above the ceiling tiles, bouncing off of some beadboard of foam core down into 216 or tough spun. I'm inclined to go for #1, but we don't have any kinos and the budget is super tight (I know that kinos are cheap to rent, but any rentals basically come out of my pocket). With number 2 and 3, I'm not sure how realistic it is to mount the fixtures above the drop ceiling. I could hang them below, but I don't want them getting into my wide shots since the room is not that big. I plan on using some bounce and china balls for key and fill as necessary. There will be some pracitcals in the room and some 300/150w fixtures rigged up to act as recessed lighting near two opposing walls. Any suggestions or help would be greatly appreciated.

Walgreens didn't get the remjet off, it was still on the neg in powder form after processing. They told me that it was ruined and gave me the negative. I took it home and cleaned it myself, just for fun, and took it back. There were a few scratches from my rudimentary cleaning, but most of the photos came out pretty well. I'd be interested to see what a more qualified Walgreens photo tech would say about the remjet.

I called Fotokem a while ago and they said they'll do it, it's something like 14cents a foot but a $50 minimum. I shot a roll, and then it sat around, so I ended up just taking it to Walgreens (after they told me it should be fine with their filters for their chemicals) and got it processed 1-hour. It came out with some of the remjet still on, which I cleaned off with a microfiber towel and then had scanned. Colors came out very nice, desaturated cool colors with more saturated warm tones. Contrast and exposure stayed more or less the same. Tim