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Guillaume Cottin

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Everything posted by Guillaume Cottin

  1. Hello, I have a shoot by the end of the month on a Red Ranger with the Monstro sensor. I’ve never worked on that camera and and am wondering if there are any tips on this camera, the kind you only learn from (painful?) experience. What are your preferences regarding which OLPF to use? Standard, skin tone? We’re not shooting low light. Thank you team forum
  2. Hi I’ve noticed a green tint on my Aputure 300X. The warmer the color temperature, the greener it gets, which leads me to think it might be an issue with the warm white LEDs. Does anybody else have this issue? How green are your 300Xs?
  3. Following up on Brian’s idea, I once shot a monochromatic blue night scene using ungelled tungsten lights. In Resolve instead of using the color wheels i used the color mixer tool to remap all luminance info to the blue channel. This induced no noise contrary to other methods. The key for this to work is was that the scene has got to be monochrome.
  4. Yes and the reason why we perceive moonlight as softer and bluer is because of our eyes. Human night time vision is less sharp because of the rods and therefore we interpret moonlight as softer. Also blue cones in the retina are slightly more sensitive to darkness which explains why we perceive blue better in low light and nights look blue. But cameras that are very sensitive show the color temperature of the moon is actually roughly daylight. As a DP you can have two valid approaches: simulate nature as it is, or simulate nature as it is perceived by human eyes and brain.
  5. Hello I am doing research for a future project and am wondering what would be the option to have something similar to a Trinity on a low budget. I'm not an operator ―just trying to see what options would be possible. That's to fly an Alexa Mini probably or something that size. Are there other versions of that kind of rig? Does it work to put a Ronin 2 on a steadicam? Thanks
  6. Oh, he must be talking about the Rosco acrylic panels. Expensive! However, you don't necessarily need acrylic panels to do that. The concept stays the same: heavy ND. I did it twice, once as a gaffer and once as a DP on a short. I messed it up as a DP because I used ND and CTB filters, so now I can tell you the trick is to just use straight NDs and not color gels because underexposing saturates the colors, and the outside is already blue enough. Also, the gels need to somehow be mattified, otherwise they reflect all the lighting indoors like a mirror. Thats probably the superiority of the acry
  7. With the car window screen, I’d be wary of color problems. I would splurge on real ND gel, you can put it on the windows using Windex then remove bubbles with a squeegee. It will hold for a few hours. And it’s reusable!
  8. Honestly, I wouldn't touch that Amazon light with a 12ft pipe! For the same budget, same form factor, double the power, I would get this instead: https://www.bhphotovideo.com/c/product/1342001-REG/godox_sl150w_5600k_150w_led.html That light will take any Bowens mount softbox.
  9. Generally it is not desired for the ambient light outside to participate to the exposure too much because of continuity. That's why a classic way to do it would be indeed a combination of ND or nets on the windows and raising interior exposure by carrying the window light, either by bouncing an HMI into the ceiling near the windows, or using Kinos or now LEDs (SL1s are great for that use), or Joker soft tubes. However it's a challenge to keep things subtle and not ruin the beauty of light coming from the exterior and side, as said earlier. It's important to keep any light sources inside very c
  10. Hard to find for obvious safety reasons but: https://www.etsy.com/ca/listing/550502536/e26e27-medium-edison-screw-to-e39e40
  11. Heres my assessment Kinoflo Diva 21 will have more throw and output but will look harder. They're different tools and if had both you'd use them both. Litemats do not have any pre-built effects or DMX or color, that's why as a first light purchase I'd suggest the Kinoflo by a narrow margin. If you go for a Litemat however, unless you have a good discount, try avoiding the S2 because you'll be disappointed by its output in any situation other than interior nights. Do get the dop choice snapgrid with it, because the plastic grid on Litemats is heavy and not the best optically.
  12. There is a bi-color 85w version of the bulb you are referencing. Maybe that's enough. Brute force but "passable" CRI: 100W: https://ledmyplace.ca/products/led-corn-bulb-100w?variant=36001232011 300W: https://www.ebay.ca/i/254384949174
  13. Luke, You’re pretty much describing my own struggles especially the “opening and closing a lot of apps” part. Great item on paper, but sometimes unreliable. Mine works most of the time now, to be fair, and when it does the signal is good, but would I trust it in a demanding situation? I don’t know. The moonlite won’t output wired DMX and CRMX at the same time. In my opinion that’s a big limitation. No progress on my side, like I said, it kinda works but it is clunky. Hoping for software updates!
  14. Sure. The moonlite almost always successfully connects to the CRMX app but not always to Luminair. I was told I have to disconnect from CRMX app in order to connect to Luminair. While annoying in itself (when you have to pair more lights in the middle of a shoot) this solution helped, but I still have issues connecting to Luminair. Sometimes the Moonlite doesn’t show up in the Bluetooth list in Luminair. Sometimes it shows up but does not output DMX. Also it shows up a signal strength of roughly 60% even when I am close to the unit. One time, my Moonlite got bricked (static red LED, unit
  15. Hello, have any of you used the Moonlite by Lumenradio. It seems very glitchy (won’t connect, etc...). Was wondering if you someone had the same experience. g.
  16. Also worth mentioning Chris Fraser http://www.chrisfraserstudio.com/
  17. That is correct! We had a 800w redhead on a boom bounced on the ground. It was on a magic gadgets flicker box. The practical lights are real flames indeed, but they weren’t giving enough exposure. The light at the end of the tunnel is an HMI, probably a 1200 PAR, the stand is hidden behind a 6x6 or 8x8 silk or something. Half the bean on the silk and the other half hitting the tunnel. That tunnel was so long, and the shadows from this HMI were so long as well, that moving the light at the other end of the tunnel even very slightly would produce a really disorienting effect
  18. Nothing will melt, but the optical quality is inferior on the zoom lenses. You will get more chromatic aberration and a little less output. If the beam is supposed to be visible on camera (for example to simulate a sun beam) not just used as a bounce for example, it is better choose the fixed lenses. By default, I would choose the fixed lenses.
  19. And to state the obvious, you can rent a Magic Gadgets flicker dimmer. The effect might be less realistic albeit more controllable.
  20. Hi everyone, How about we play a little game? You post a screenshot of one of your shots, and everyone must guess what was the lighting setup. Whoever has the closest guess wins one point. Let's see if this little game takes off! Let me start with something easy. Cheers!
  21. Hi all, I was wondering if other companies offered products similar or competing with the Light Ranger 2. I can't find any online. Thanks
  22. Since I do not know what the film or the scene is about, my advice can only be a bit generic. I think your approach of having a low base exposure + highlights and modelling works. A super soft top light can read as ambient darkness. It is a pretty standard approach. Let me bounce some ideas at you. Maybe the characters have flashlights, cell phones or other sources of light? Then maybe you don't need a base exposure at all. Are there any luminescent algae or mushrooms on the walls of the cave? Maybe you can simply bounce your own lights onto the cave's surfaces so that your light takes so
  23. CRI uses a limited number of color patches to give a rating. The newer TLCI measurement is more precise. Take a look at this article. In general, good LED lights are now "good enough" and the usability, features, efficiency more than make up for the few imperfections in color rendition. If a light has a CRI above, say, 95, that's fine by me unless it is some kind of critical application. However, anything under that and I would not use it as a key light but only as an accent or background light. Yes, absolutely! There will always be a need for big, powerful lights... regardless of
  24. ⬆️ this And a bit of haze. The location makes the shot. If you look closely at the reflection on the floor, there is a reflection spot that is brighter than the sky. An 18K straight through the windows aimed slightly frame left would be the usual suspect.
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