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Marco S King

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About Marco S King

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  • Occupation
    Cinematographer
  • Location
    Cape Town
  1. 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 amount in comparison to the original amounts of green that were present. Midtones and shadows lost their sickly hue and we did not compromise on changing the hue in the background. A well matched scene. Its great to be able to work the skypanel so quickly to add in that colour.
  2. 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.
  3. 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 fast and light with a minimal lighting crew. I wish I had control of our schedule ;) Thanks for the suggestions thus far guys. Always appreciative
  4. 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. Would it be significant enough to do so? Must my key source be punchy enough to negate the spill? I really want to hear how people go about controlling spill on this scale
  5. 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; similar key source etc. Thats my ten cents. Hope it helps
  6. 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 ;)
  7. Do you actually use unbleached muslin as a diffusion or did you mean you bounce with it? It would be a pretty heavy diffusion.
  8. 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 balance on the Alexa mini. Albion Hockney. Those Quasar science lights look like they are the exact thing I have been searching for. I think I will be ordering a few to test out and see how they render on screen. 95 CRI rating, amazing.
  9. 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 windows wont be close enough to justify using them as a key source. These will be augmented with kinoflo's. In order to maintain the near-future, clean, uniform look I have opted to got for using daylight balanced practical sources only. My natural inclination is to use LED lightbulbs in the light fixtures. These include standing lamps, frosted balls that litter one of the spaces, and desk lamps. Here is my conundrum. I have searched the length and breadth of my city to find daylight LED's that come closer to 5000k so as to match the ambient light coming from the windows, however all I can find are 6000-7000k bulbs. Since the windows will almost always be in shot (there are a lot of windows) and the ambient light in the room is quite warm, I am trying to figure out how to have a uniform color temperature between that light and the practicals. Are there bulbs on the market that can achieve this slightly warmer temperature? How would you go about matching these two different light sources. Do any of the major industry LED manufacturers make daylight balanced bulbs, as Kino-flo does with their CFL's? I'm not using the CFL's because I cant find any in time, and most of the practical fixtures are too small to fit them. Thanks
  10. 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
  11. 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
  12. 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 rate? How does the bit-rate actually affect the overall image? It is all just a bit confusing and I thank you in advance for your answers and patience for my ignorance.
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