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David William Harris

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About David William Harris

  • Birthday 10/12/1982

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  • Occupation
    Student
  • Location
    Winston-Salem, NC
  1. Jordan, This is a challenging topic post. I've been analyzing this screenshot for a while trying to imagine what lights were used to create this type of mood. I agree with David Mullen's instinct that the light source striking the back wall is coming from the right side of frame, judging from the shadows of the two small lamps on the back wall. I'm curious about something, and I'd like the opinion of others who've already posted. The shadows on the back wall seem rather sharp. This would lead me to think that the light source isn't soft. But, perhaps I'm mistaken, because of the close proximity of the small lamps to the surface upon which they're casting their shadows. Another thing. I'm also a student, so take whatever I'm saying with a grain of salt. But, one of my cinematography professors advises us to save our fresnels for when we need a broad even pool of light (equal intensity from edge to edge) meaning don't waste your fresnels if you know that you're just going to shine them through silk or muslin or onto a bounce. Use an open face for this, since the light pool from an open face isn't as "clean" or consistent from edge to edge as is one from a fresnel. Obviously, ignore this if it's about overall wattage, and your fresnel just happens to be your strongest source of light. I look at specular objects within an image to try and determine where lights might be located in a given scene. Looking at the bed posts, I think there is a light slightly high and frame right, perhaps coming through a window, and another light lower and frame left that seems to be just working on the hanging edge of the bed's comforter. This light seems to be a slightly warmer color temperature. I wonder if they're mixing HMI and tungsten sources here. I think this is a good example of a moody interior whose lighting has motivation, but doesn't feel too "sourcey." Thanks for sharing.
  2. I'm curious if anyone knows of an example of this technique used in a film. I've read that it's used in the movie Speed RAcer, but I've yet to see that movie. I know it's kind of a lame reason to want to watch a movie, but now I want to see it just to see how this effect plays on screen. For those who aren't familiar with the concept; Let us imagine a shot in which a character is rather close to the lens in about a MCU. The focus is on him, we're at a F/1.4 or maybe a F/2 with an Variable ND 2.1 in front of the lens. Two shadowy figures walk up behind our foreground character and stand to his left and right, also facing the camera. As one of the shadowy figures begins to speak, we seamlessly iris rack to F/22 or F/16 while simultaneously opening up the variable ND to as clear as it will go (in a perfect world it would be totally clear, but maybe the best we'll get is a ND 0.3) This would increase the depth-of field so that now the shadowy figures are in focus, as well as our main character in the foreground. So, if you know of any example of this type of effect, please let me know. Also, if you know of some apparatus that would make this a smooth transition, let me know. I'm imagining some gear or rod that would connect the iris to the variable ND so both can be pulled simultaneously. Cheers, and thanks.
  3. Thanks a lot, Ross. If you have a hard copy and you're bringing it back to school, I have a scanner you can use to create a PDF.
  4. I got a pretty good deal on a Spectra Professional IV-A-SP Spot Metering System on E-Bay. However, it didn't come with an owner's/instruction manual. Does anyone know where to find one I can download or buy? I've been searching around Google for a while with no luck.
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