There Yougo

Hi! I'm about to start to shoot a production in a studio, where we will have a broad object of about 5m(16ft) length and 2m(6ft) height. Now I am trying to figure out, how wide the greenscreen in the back needs to be. I think it might go like this: It all depends on 3 things: - My focal length - Distance between camera and object - Distance between object and green screen My focal length will be 50mm. On a super35 sensor, that gives me a FOV of about 24 degrees. First question now is: If I need the object to be frame filling from left to right, how far does the camera have to be positioned from the object (with a 50mm lens)? Second question: If the distance between the object and the green screen is about 4m (that should be a good distance to avoid spill, right?), how wide does the green screen need to be, when I'm on a 50mm lens? Thanks a lot! :)

Hi guys, I am preparing a shooting for a short advertising film for a local soccer club. The idea is to shoot in daylight, mostly in 300fps. I am especially worried about a static wide shot, in which a group of soccer players will run across the field, holding banners and other crazy stuff. The director wants this to look "epic". I was thinking whether I could use one or two 18K HMIs to light up the group from camera side to get that specific HDR look that I know from some advertisings. Also, I thought about mirrors, or maybe 12x12 butterfly with Ultrabounce (probably not enough punch for that look)? Another idea was to align 4-5 maxi brutes / 9lights on Hi-Hi-Rollers and place them behind the group of players, so when they walk from left to right in the wide shot, they have those 9lights in the back. I'd like just the look of those lights in the back (opposed to a boring soccer filed background), but it would only make sense, if they would offer at least some punch. Do you think the 9lights would make any difference in lighting / make a visible back light on the players, when shooting in broad daylight? I wouldn't mind the 3200K by the way. Thanks! Phil

The photo is taken from within the room where the table with the two people will be. On the left side are two windows with curtains. This is really low budget (the room may suggest otherwise... :-) ), so I have no option for a scissor from outside and there is also no building nor a pole I could use. Just trees and air. Instead of the Kinoflo, would you suggest anything better given my options? Also, it will be either the Scarlet on ASA 800 or the 5D Mark 3, shooting with T2,8. You think two 1' Kinoflos would be too weak?

Tom, I uploaded one picture. I actually haven't been to the apartment yet, and there is no pictures of the windows. I can only guess. I know, there is 2 of them in that room.

Hi! I am going to shoot the following situation: 2 people in the middle of a big room (sitting at a table) 1 person far away from them, kind of in the same room, watching the people at the table from "out of the shadows" (=they can't see this person) Looking at the room from the "voyeurs" perspective, I can see the two people in the middle of the room. On the right side, there is 2 big windows. I would like to have a practical or two in the shot. They would be the main light. I'd probably add some fill from the front, too. Then, I'd like to let some blue-green (Roger Deakins style night-time light) light come from outside the windows. Only problem: The room is too high up, I can't light from outside. My idea: Install a pole cat / autopole and hang a 1ft 1bank KinoFlo over each of the 2 windows and gel them blue. Blackwrap the endings to avoid spill on the sides and put a louvre on it to shine "forward". Would that work? / Look good? I'm a little afraid, there would be too much spill from the Kinoflos being soft. Also: As the windows would be in the wide shot, wouldn't it be a little strange, that the actors and the room are lit blue, but the curtains in front of the window, as the windows itself, are completely black? The "voyeur" would be lit blue, maybe having only a yellow kicker light. Thanks!