Duca Simon Luchini

I don't know why I can not edit my message... :angry: Anyway, I try to write again what I wanted to say: As I said, the first approach should be to isolate (light) what is important for you (for the script, for the scene, for the Director...), regardless of how it illuminated the scene originally. Okay. But there are many cases (Docs, Historical, Turistic, ...) where you have to consider to PRESERVE the original on location lighting: For example, if we are in a Church, or a Villa, or a Gallery or historical place or in every place who the lighting location has something special (authentic, original...) - we can meter the original lighting contrast ratio and preserve it, if we need to increase the brightness of the scene because we have little light lenses, for example. Vice versa, another interesting aspect to check the original on location lighting - when it is too bright [as a DAY Outdoor scene, or DAY indoor scene with many windows or on site lighting sources (Offices, supermarket, ...)] - is to underexpose the scene to see better the contrast ratio of the original scene, evaluating if it could be great for your creative/narrative purposes. Of course, when you shot an underexposed scene, you should use ND filters to preserve the possibility to choose the Aperture only for Depth of field (Soft or Deep focus).

Hallo guys, yes this is what I look for when i try to create a lighting: isolate what is important. So, let's light what you need... So , think you should find I David, I forgot I forgot to highlight text with my considerations... I make it here above:

Hallo everybody, I am introducing myself on "metering" world... :blink: Reading some articles on web, I found this the should be pretty good to start: http://www.sekonic.com/germany/whatisyourspecialty/cinevideo/articles/cine-essentials-scouting-a-location.aspx I have a Sekonic L-308DC (I always wogk with DSRL or Digital cameras, unfortunately not with film stock). Many article suggest to make a Lighting location scouting to measure the lighting of the stage: in short, to measure the light intensity of the light sources present in the location. In daily outdoor locations we can measure the natural light sources (sun) intensity in the moment we intend to film the scene. In outdoor night locations we can measure the natural light sources ( moon.... fires, candles, bonfires... ) or artificial lighting (street lighting, urban lighting....). The problem is to set up a right ISO mode. We should be know which ISO value we (or the DP) intend/s to use for that scenes. But how we can decide it and when? I mean, when we (or the DP) are/is on location, we/he have/has to decide which will be the ISO value? I know we should be remain always in a value from 100 ISO to 320 for Daily outdoor scenes, and at most up to 800 ISO, for indoor and night scenes to avoid noise. Of course, we needs light, we have to add instead to increasing ISO value. So, are these the basic rules to choose the correct ISO value to use? Many thanks for a reply! :)

Wow, finally! Many, many thanks David!

Color correction "on set" This is the best way to work: after reading script (commercial, fiction, docs...) we have to decide which kind of lighting "mood" we need, choosing a "basic" color temperature lighting (Daylight 5600K, Tungsten 3200K or a mix ). At this point, we can apply a warmed or a cooler mood, increasing or decreasing camera color temperature from the initial "conformed" value ( (Daylight 5600K, Tungsten 3200K or a mix). At least, if we want to "catch" the real magic moment, you have to switch the camera color value to find the right set up CHECKING your control monitor. Right? Color correction in Post So, if we don't have a clear ideas about color mood of a scene (There could be many reasons) we should make e neutral white color balance on camera to uniform on stage lighting with camera color temperature and then in post, we could provide to apply a desired mood.

Okay, I think I've finally understand... :unsure: : When the color temperature value of lights used is similar or the same as the camera white balance (Camera color temperature), then the mood will appear neutral "white balanced". If you want to cool the mood of a Daylight set up (5600K), you have to decrease the color temperature value of camera from 5600k to something like 4300K, 3200K, 2700K, etc. If you want to warm the mood of a Daylight set up (5600K), you have to increase the color temperature value of camera from 5600k to something like 6000K, 7000K, 10000K, etc. If you want to cool the mood of a Tungsten light set (3200K), you have to decrease the color temperature value of camera from 3200K to something like 2700K, 2000K etc. If you want to warm the mood of a Tungsten light set (3200K), you have to increase the color temperature value of camera from 3200K to something like 4300K, 5600K etc. So, it should be right, or better, it is right... (I tried with my Canon 60D and Magic Lantern which allows to set up whatever color temperature you want, and I verified it :ph34r: ).

Hi David, many thanks for your replies! When you say: "Yes, you need to decide what color temperature you want to work at, but you don't necessarily have to work at an exact number, it's more whether you want to work at a daylight-balance base or a tungsten-balance base, or somewhere in between, but you don't necessarily have to pick 3200, 5600, 4300, etc." is of course okay, but the problem, when you choose for example a 5000K or 2500K, is not to easy to match your lighting equipment with gel... but you have to choose the right color temperature gel... About 2) sorry, it was just a mistake: 5600K of course . About 3), sorry again, I should to specify "natural" lighting source as candles, torch, fires, bonfire ( illuminations so much used for example in "the games of Thrones"). So, in this cases, I have to choose if I want a warm mood choosing a 3200K or a cold mood choosing a 5600K, regardless of the fact that candles, torch, fires, bonfire could be have different color temperature. 4) uhm, this is the consequence of 3)... so, you want to see "cool" a "natural" lighting as candles, torch, fires, bonfire, what do you have to do? A way you said is reaching a 2000k or lower values... (with pro e contras you said. Any other ways? By contrast, if you want warmer these "natural" lightings (candles, torch, fires, bonfire)... you have to increase or decrease the color temperature value on your camera?

Hallo everybody, I'd like to summarize this topic, above all regarding white (color) balance in a Digital shooting situation : 1- first step should be to decide which is the color temperature we want to use for the scene (of course, regarding which type of location and lighting equipment we have available...): the most common use is 5600K or 3200K... In case of intentional use of a mixed daylights/tungestens lighting sources, we can decide to work with an average value as 4300k. So, if I decide to work in 5600K day light, I have to set my camera to 5200 as white balance / color temperature, and than I have to match to 5600K all my added NO DAY LIGHTS on set , using CTB on tungsten lights. Rights? 2 - Second step should be to conform all used lights used on set to the desired color temperature (commonly 3200K or 5600K...): So, if I decide to work in 5600K day light, I have to set my camera to 5200 as white balance / color temperature, and than I have to match to 5600K all my added NO DAY LIGHTS on set , using CTB on tungsten lights. Rights? If instead you decide to use e 3200K, you have to set your camera to 3200K and then match your daylight- balanced lighting units OR your natural lighting sources (as windows) with a CTO gel. Rights? 3 - The third question is about catching the on stage lighting (is the same if is INT or EXT) - if I have rightly understand - (and it was really important), we must only to decide which is the color temperature of the scene (5600K, 3200K) and then shot without any color correction on used lighting sources... So, in this cases, if you shot at sun set or sun raise you can stay on 5600K as a color balance in your camera to provide to catch these typical warmer mood. Right? Another classic example is use candle lights or torch / flambeau in a night scene (Games of Thrones): in this case, we have to set the camera to 3200K and shot the scene. The candle will appear warmer... but if we want "to cool" these lights ( candle lights or torch / flambeau) we should change the white balance camera setting to 5600K? I'd like only to be sure to have correctly understand the process (in DIGITAL), so many thanks for a reply! :)

Of course, but the problem is to do a global matchmoving and not a single object tracking as in you example.

Uhm... great David, my way to learn DP is still long... <_< So, in digital, if i want to maintain the warm candle mood I have to check my control monitor setting up a right (subjective) value of WB; if I have rightly understand...?

Ah, ah, you are right! I confused my self, anyway is was the meaning... So, it could be ideal to use faster time exposure with 24, 25 or 30 fps. And of course, if I shoot at 60 fps or 120 fps, I should use even more faster shutter speed as 1/1000 or more (?).

Okay David, I understand. Of course is always a creative, emotional, storytelling decision. I wanted only to have a starting point of reference (35mm / 40mm). Many thanks, you are extreme exhaustive. :)

Hi Tyler, normally shutter angle should be double of the Frame rate, right? So if I shoot at 24 fps, I should have a 48° shutter angle. You used 45°... it seem to be a very small difference.

Hi everybody, I'd like to know, instead, how can you catch the real on location temperature. I mean: often it happens you are in a location (never mind if you are in an indoor outdoor set) where there is a great natural lighting. Shortly, if you have to film without any lighting, catching "the magic light moment" of your location, how your camera can catch exactly or approximately the temperature lighting on set (and you can see with your eyes)? Many filmmaker have not a color meter (costs at least $ 1,500...) how have you to set your white balance? Thanks for a reply!

Hi everybody, which kind of lens do you suggest to use for a "Normal" human view (Subjective)? I read the huamn Angle of view is pretty 120 degrees but a lenses with this AOV are very wide angle... as 24, 16, 8mm! They distort images and it doesn't happen in a normal eyes view. Practically, I have seen that with a 35mm you can provide to give a credible human view, maybe also with a 40, 45, 50mm. What are your experience about? Shortly, if you have to shoot a subjective, which kind al lens do you use? ATTENTION: I mean a "normal" human subjective, without any creative or emotional functions! Many thanks for a reply!

Hi everybody, I'd like to shoot a "first person" sequence with minimal possible motion blur because we have to make an extensive motiontracking (Matchmoving) of the entire sequence. So, I thought would be a good idea to shoot at a "normal" frame rate ( (24 or 25 or 30 fps) but acting the scene very slow and than accelerate the sequence in post. Or , maybe, I should shoot with 60 or 120 fps (I don't have a Phantom....) to try to avoid motion blur. Any other suggestions? Many thanks for a reply.

Hallo everybody, I'm building a collection of used Lens distortion presets for planar tracking (Mocha Pro). It means to find a single frame of a shot from a "squared" grid. With this "squared" grid shot, we can calculate the lens distortion of the used lens. Very important for 2d and 3D tracking and for composing issue. Can someone help me pick these presets? Primary, I need of course, wide angle lenses shot: GoPRO Canon DSRL Canon EF 24-105mm f/4L IS USM Canon EF 24-70mm f/2.8L USM (shooted at 24mm) Canon EF-S 18-55mm f/3.5-5.6 IS Canon EF 17-40mm f/4L USM Canon EF 16-35mm f/2.8L II USM Canon Prime Canon EF 15mm f/2.8 Fisheye Canon EF 14mm f/2.8L II USM Canon EF 24mm f/1.4L II USM Canon EF 35mm f/1.4L USM Canon EF 35mm f/2 Zeiss Master Primes T1.3, from 14mm to 35 mm Ultra Primes T 2.8, from 12mm to 32 mm Cooke S4s T2, from 12mm to 35mm S5i T1.4 18mm, 25mm, 32mm Panavision Primo T1.9 21mm, 27mm, 35mm I attach a "squared" grid to show how could be the grid. NO checker-board or point grid but only Lines equidistant lines grid: Obviously I do not pretend to have all of these presets, but I hope to collect as much as possible. Please help! Best regards and thanks you for a reply.

:rolleyes:

Hi Matt, I also use Maya - Arnold but I didn't find any simulation set up fora realistic Movie set lighting. So, how can I try your plugin or find resource to build a realistic movie set ligting (lights, Cameras, Crane, Dolly, and so on...)? Many thanks for a reply!

Great David, your culture about cinematography is really great! Many thnaks! P.s. I've already contcacted Tim but I didn't receive an answer... I do not know what I could do more...

Hallo everibody, I am also interested in this type of books, but not about the technical side but rather about the aesthetics of the camera lens: I mean... 1 - when and why use normally a type of lens 2 - and when to use instead the lens from a point of view not descriptive but figurative, aesthetic, metaphorical. Many thanks for a reply!

It is okay. I was thing about shot type, but in this case he talks about equipment, so tripod (or Sticks) independently from a type of framing.

So it doesn't mean (only) Still image... It could be e.g. a pan or a tilt shot... okay, great.