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Graeme McMahon

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Everything posted by Graeme McMahon

  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. I think another one was, the leading lady looks good.
  12. 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,
  13. 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
  14. 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
  15. Hello, The conundrum is to me, you shoot clean, just for the story, you don't get noticed, but a majority of drama is images that don't get noticed. Bad example I know, but the only example that springs to mind, the average punter doesn't understand the beauty in Deakins images in No country for old men, daggy hotel rooms, etc. If I was able to, not saying I can, but as a whole, shoot where you don't get noticed, how do you get noticed? The other issue is I have shot convincing night for day, etc, trouble shot the best of problems, but unless I'm in a room and saying what I have done, they won't understand the process or what I have done to make it happen. We all know our job extends beyond images, but how do you sell your skill sets beyond your reel? The other assets you have acquired? Thanks
  16. Thanks, that's a given. I meant, do I give her a piece of my mind, or maintain some civility to utilize her contacts.
  17. Hi, Yes, I am going to write this, but I imagine no one will give me the answer I want to hear, as it won't be the most prudent. I was seeing a lady who moved overseas for work (in the industry as well). Yes, I was making plans to move there myself at a latter date, but nothing confirmed. The story gets silly now, but the bottom line is, she was seeing people from the go, all the time showing affection to me over skype. Now, do I give her what for, or do I think, even though she is lower on the chain of command, just take it and utilize the contacts that she has made in this new country? I never seem to be in a position to dish it out. I'm sure this is relevant to business practice. Thanks
  18. Is this a subject covered too many times to get a reply, if so I am sorry. Would value anyones input. thanks,
  19. Hello, Over the weekend I did this shot. I wanted this (taken by someone on set). Apologies for the quality, I have spent some time trying to get these pics attached under the file size restrictions. Obviously it came down to not having enough light to overexpose on the camera with having the light source come from a distance away, having a gel on, shoot through the lattice work. I wanted to ask, what is the next level up in intensity is there from a source 4 that could help with a shot like this - a xenon would probably be out of the budget. Just noticed on the day too, when shooting back towards the light, the light needs to be obscured from the lens to get its maximum effect (is that a correct assumption?). While I am here, (and I have noted in a previous post on this subject), the side view shot isn't as pronounced with the rays. My observations on the subject of getting shafts of light sideways is. The BG has to be dark, haze needs to be a place where it can be contained (not leak), the light needs to have punch, not spread all over the place and not bounce back from the far side. Is this true too? Is there anything else I am missing? Thanks.
  20. Have to agree, way too long. And there is repetition there. By the way, at 2 min 47 sec, a boom comes into shot. Still, some nice work. I would just cut it down so every shot sizzles. Cheers
  21. Hello, I'm not very post savvy but I believe I did everything correctly, yet it still looks too compressed. It was a little test shoot, so I normally don't do post. https://vimeo.com/44451711 password is vulcan I shot in 24p, converted footage to prores with compressor, then put through cinetools to get to 25fps, edited in FCP, apple color. On the timeline, the footage looks fine. Exported out of compressor at h.264 data rate at 5000kbps. 1280 x 720. Any suggestions would be appreciated. Thanks,
  22. Hello, For a while now, I have been seriously considering moving abroad. I find the the frequency and type of work I am getting here is not improving. Does anyone know if it is possible to obtain a visa for Canada if your a shooter? I am over 30, so I can't get a standard work visa. Thanks,
  23. Thanks, I failed to add a make up option. The variable I didn't include in my tests. Thanks. Graeme
  24. Hello, I have been testing for a while how to achieve this look in camera. I refer to the sheen (though it isn't sweat), in the forehead. It's like the skin tone is reflecting a light source. I have played with overlapping soft and hard lights, burning a light source so the sources spill is lighting the skin. I just don't seem to nail it. Is this a post thing? Thanks,
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