Jump to content

Graeme McMahon

Basic Member
  • Content Count

    25
  • Joined

  • Last visited

Community Reputation

0 Neutral

About Graeme McMahon

  • Rank

Profile Information

  • Occupation
    Cinematographer
  1. Hi, Looking at shooting a day interior 'kung fu' fight in this location. Director would like some haze for atmos. Due to the numerous set ups, I'm thinking to constantly 'haze up' this location, might slow the shoot down. Also, the warehouse isn't sealed, so I'm thinking a draft will quickly remove the haze. There are sky lights there, but they they are so old that they are covered up like they have diff over them, so there goes the shafts of light. Questions are, 1), is it feasible to haze up this location? 2), how many hazers would cover the area? Thanks
  2. Wow, thanks lads, exactly what I needed. Was going to try and test the low angle approach for expedience. Need to ask, yes, a soft source, but how big does the frame have to be and how many? In the second frame grab from Mr. Mullen, that is ideal, to me thought, the light source looks more 3/4 back light as opposed to backlit. I'm thinking of doing a scale test shoot, garage to stop fog from escaping, toys for actors, pot plants for trees. Has anyone done this before? Thanks
  3. Hi, I heading overseas soon to shoot a picture very soon. I'm not from a cold climate, so it is hard to test, but we are aiming to shoot the night exteriors like these reference pics attached. Basically, lighting the haze so there is an omnipresent light source (being the haze), that separates the layers of trees and characters. I'm making a assumption these are shot with a high soft backlight. Working with a modest budget, anyone can help me with ideas to achieve this look please? My idea at this stage it to string up a horizontal line of lights (tied up into trees in the BG), maybe open faced blondes flooded, every 5 meters apart, back lighting the scene (my cheaper method). More slower and costly way I am also thinking is two or tree scaffold towers in the BG with 10 x 10 frames on them, either bouncing or shooting light through them. Thanks. Gra
  4. Hi Sam, Thanks for taking the time. I cutting my new one now, which shots are you referring to? Thanks. Gra
  5. Yes, good point Jeff. Don't know why I was thinking that, oh yes, that's the trick to keeping the eyes moist. David, the scrim would diffuse the light source though, I guess I can play with various intensities to see what will work. Thx
  6. Hi, Not the most current work, but from posting on job forums world wide, I am really getting interest from some good projects. I am thinking, should I wait from them to come to fruition to add them, or do you think I may attract some interest from a drama agent with what I have now? I do a variety of work, but to me, my calling is drama, not that it is easy to see or sell in a reel, but I really understand the story, actors process, and am a real problem solver. The password is - tiger moth. Link is: Thanks for your time. Regards,
  7. I should point out that yes, the reference pic is direct sunlight, but still, they are not thrown by the sunlight in their eyes. Thanks
  8. Hello All, I am gearing up for a TVC and I have sold the director on a model/ stills, Dolce & Gabana style look to part of the commercial. Needing that hard light that I think of playing with reflectors, but at the same time, I found it hard to open my eyes when looking towards the sun, how can I expect them to do so? Besides the process of lighting, should they be keeping their eyes shut prior the take? Any inside tips please. I'll attach a reference pic. How can this to work without the actors squinting? Thanks,
  9. Thanks Denny, that is all important stuff, but it's not really what I am after. I'm trying to gauge, do I keep it quick, or go all out. And the second part, is it easier to fake low sun light frontally or back lit on a scene (being the one that is easier, I would do that last)? Cheers
  10. Hi, Thanks all for taking a look. About to undertake a test shoot for a feature. With regards to lighting continuity on day exteriors, don't know whether to shoot oysters (maybe a bounce) for day exteriors to go through the scenes faster as opposed to pulling out gear and making the mids and CUs match. Factors involved in my decision, never worked with this producer and director before, so I think by being quick, they would appreciate it. On the other hand, a 10 year old kid is one of the actors, so it may take some time to get the performance, so a low sun might end up at its zenith by the end of shooting the scene. 2 to 3 pages. We are going to be in the outback of Australia, so it is flat hot terrain. While I have you, besides the obvious shoot wides with the sun low and CU's as it gets higher, is it easier to fake low front or low back sun lighting in the scene (meaning after the wides, do we bounce into the shots with or against the sun next in your opinion)? Thanks,
  11. Thanks. Glad you liked it.
  12. I think another one was, the leading lady looks good.
  13. Thanks for your replies so far. To add to what Torben mentioned, basically, we are going to be our own worst critique, and the average punter won't see the lack of lighting continuity. I did a lighting masterclass with a few big DPs last year, John Seale ASC ACS (i think he has an OBE too) told us something along the lines of how Hollywood views your work. I can't exactly remember all the things he said, but one of them was "yes, we can see there eyes". Would anyone else know these essential things they view are? Just thinking that they relate to what Torben brought up. Thanks,
  14. Graeme McMahon

    Approach

    Hello all, Once again, apologies if this topic has been mentioned before. Trying to get an understanding of how you players out there attack a scene. Where I am at the moment, and what i feel the right way to attack a location is, I light the location (the scene, not that we may shoot that wide), I don't wish to define actors to a spot, and at times it might be a 180, and when I turn around or punch in, i may add something. For example, this scene, https://vimeo.com/32649570, I had a basic understanding of the coverage the director wanted, so I built the lighting in a way we could do numerous set ups. We did 34 set ups in one day (independent, no pro crew). Yes, It may take longer in the beginning, but I give the director latitude to shoot wherever they please, but is this the wrong way? Should I just shoot and light for every camera angle? I find it makes it look lit when cameramen do this. Thanks
  15. Thanks for your reply. Yes, happy with spread, just needed it to be brighter. I'm not sure about the lens being taken out part of the fresnel. I said the same thing to Russell Boyd, isn't the fresnel designed to converge the light rays, and you get a definitive line, no penumbra? And are you talking about taking the lens out and blackening out the reflector portion? Cheers
×
×
  • Create New...