Ben Danner

Hello Everyone, The popular JJ Abrams style anamorphic lens flare for some reason has captivated many in the filmic community. I was watching a of how to create the effect, which described a method of vertically smudging the lens with your finger on any iPhone. I decided to try the effect on my own and here is what I acheived with a still-photograph image. For all of your iPhone film makers give it a shot! It works! Ben

So it turns out the director does not want any artificial lighting on the interviewees as they are a religious group and sensitive to such practices. Thank you everyone for the help here. I am going to invest in some decent cheap lighting rig for the future and have learned a lot. I guess I will have to bring out my flags and reflectors :-O

well how did they light the color shots?

Hello Lighting Experts, Does anyone know how they lit this b/w scene at 4:48 in this Vimeo short called "The Come Up": http://vimeo.com/52422837 From the wide angle shot after the scene it looks like they had one light on a stand as a reverse key, but I'm not sure. It really is a beautifully lit b/w shot imo. Thanks, Ben

Interestingly enough, I have found a video where Halogen and Fluroscent (high CRI) lighting is compared. It seems that they are pretty darn close to each other when examining the flesh tones. Maybe practicality outpaces theory here? I'm more of a fluroscent fan because of less power usage and not burning up my talent (whom will be elderly). I definitely am going to pickup a china ball and styrofoam for the future :)

Philadelphia, PA in the US

Thanks Alan! and Thanks Phil for that wonderful explanation! I have never thought of light in full spectrums such as you folks have presented it here. I could buy a fixture and design my own 4-bank fluroscent light with high CRI lamps or just use a tungsten work light (Igor's image) as it seems to cover a much broader spectrum of light. Maybe I will try both and see what it looks like. I mean we can never have too many lights in our inventory right? At this point we are just trying to get good cheap interview lighting. Of course, I will post results as soon as I have a chance to test out the setup. We hope to replicate something like this: The interviews will be taking place seated indoors, so we will have full control over the lighting.

I plan on filiming in 24 P with a Panasonic AG-HMC-150 (most likely, but subject to change). I'm probably going to pickup the lights and shoot some test shots. I am going to be color correcting the footage, so does getting the white balance in-camera really matter? The china ball idea is something I'm looking into as well. Thanks! Ben

Hello Cinematography.com Community, I am going to be shooting a very low budget interview with multiple members of a religious group for documentary purposes. Our budget does not permit the cost of Kino-Flo lights, so I was thinking that I could purchase one or two Husky 65-Watt Fluorescent Work Lights from Home Depot for $58 bucks a piece. Certainly, these lights are not dimmable, but seem to be pretty darn close to a Kino-Flo for a fraction of the cost. Are there any pitfalls here that I'm not thinking about? I feel like if I affixed a white sheet to the exterior, I could spread out the light and make it softer. I want to make it known that I'm knew to continous lighting as I am a photographer beginning to make my journey into video. For the moderator, I apologize if this question has already been asked. I have searched for it and found nothing. Many thanks, Ben