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Marco S King

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About Marco S King

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    Cape Town
  1. Do you have any examples of work shot on these lenses? Would be amazing to see them in action.
  2. Rickard: Nice one trying out the medium format lenses. I would have to agree that for super35 they are just too long and not fast enough. I have a set of Zeiss T* 645 lenses that I found an adaptor to E-Mount to play around on my A7sii, also in the hope of potentially adapting them to cinema lenses one day (since sensors seem to be getting larger every odd year now it seems like a good potential investment) However, I tested these on a micro shoot and also found the same softness that the Mamiyas apparently exhibit. The images look as if there is a softening filter in front of lens
  3. So the shoot is done... For anyone Wanting a conclusion to this lighting situation... Here is what we did on the day. Laying out as much textile over the grass, especially the first four metres away from the patio, worked wonders. The green spill was cut down significantly. I actually dialled in a bit of green on my key (skypanel S360) and then auto-white balanced to remove the green from the scene entirely. The gaffer did look at me quizzically for a few seconds before he did so. If i recall the camera colour corrected itself to -2.3, which in Arri terms is not a huge
  4. I probably wouldn't use sharks tooth due to the haziness it give off but some double net could cut down the spill whilst still seeing outside (and gain a stop) then shoot clean light into the scene with a big source of Bounce through diffusion or HMI. I will also cover the lawn with white material where not in shot. I think this will be my plan.
  5. Yes, great! I was considering the white/black cloth over the sections of lawn we won't be seeing in shot. Then punching as much of a clean source of light onto the subjects for mid-tight shots. I Have the Skypanel s360 at my disposal, which can be dialed to match closer to my ambience, rather than fighting it. Then dial out that green in white balance in camera to match even closer (Shooting 4444 so I need to get that white balance looking good) Does this sound like a terrible idea? Good suggestion. Enough 6k's would essentially cancel out that spill, but, we need to work
  6. Hey everyone I have an upcoming commercial where we will be shooting inside a beautiful home looking out onto a garden... a very, very green garden. In the afternoon with direct sun the green bounce off the lawn turns the entire house into a green monster. Some of my shots feature the garden through windows. Some of them are on that patio (pictures below). How would you go about controlling the spill without completely blocking out the lawn? An auto white balance is the obvious first choice, However I am afraid that doing so will sap the greens out of the exterior scene. Wo
  7. having the backdrop far back enough to throw it a touch out of focus would be a start to making it believable, but even better would be that your print comes from an already out of focus shot... If your subject were actually in the space you would be throwing the background out I assume, so the backdrop should copy this fall-off. The worst is seeing a backdrop with everything in focus. Follow this with really even lighting across it, with no funny reflections. definitely a matte print. The quality of the light in the industrial space needs to be somewhat re-created for your subject;
  8. I have seen a very experienced DP using polyester fibre (couch stuffing material) hung close in front of a large source, a 6k or 10k HMI, then further diffused through a 12x12 silk at a fair distance from the subject. Has anyone ever seen this being done? Is there a really amazing effect that this polyester stuff creates? The image certainly looked very soft and flattering, yet still somewhat directional. I can safely say that neither Lee nor Rosco have that sort of diffusion in their arsenal ;)
  9. Do you actually use unbleached muslin as a diffusion or did you mean you bounce with it? It would be a pretty heavy diffusion.
  10. Thanks for the advice guys I went for gelling the household LED's with 1/8th CTO and 1/8th Minus green gels, added and eight CTO to my daylight kino's and balanced the spacelights to those as well. This slightly warmer color cast has given me a much closer match to the ambient light in the room. The next problem I faced on the first day of shoot were the giant astroturf carpet and artificial green wall which were spilling all sorts of putrid green over actors faces, when not in shot I had them covered in black or white material or polyboards but still had to add a -2 CC to the white ba
  11. Hey guys and girls I have an upcoming shoot where I need to light a few different office scenes in a way that looks modern, clean and uniform. The location we have has a good all around ambience that sits at approximately 4900-5800K throughout the day (this warmth comes from a large building across the road that bounces a lot of light into the space. Two space lights, balanced to daylight and sent through an overhead 8x8 butterfly with full silk, will light the boardroom scene, and for other scenes there will be a lot of practicals that will provide the motivation for areas where the
  12. Hey there Any chance this mattebox is still available? I am very keen to purchase. Also I'm based in south africa... would that be a problem? Obviously willing to pay shipping. Thanks
  13. Hey there Any chance this mattebox is still available? I am very keen to purchase. Also I'm based in south africa... would that be a problem? Obviously willing to pay shipping. Thanks
  14. Hi There I have searched this forum about the following question but have had no luck finding answers: Facts: Using an Ag-af100 with a nanoflash external recorder the bit rate goes from the standard 25mbps up to 250mbps. The colour sampling rate goes from 4:2:0 to 4:2:2. Questions: having not observed any noticeable difference between the two images, standard and nano-infused, do external recorders coming through an HD SDI port somehow bypass the cameras compression settings and create a souped up image? Or does it take the cameras compressed image and digitally ramp up the bit
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