Jump to content

Mike Barlas

Basic Member
  • Content Count

    7
  • Joined

  • Last visited

Community Reputation

0 Neutral

About Mike Barlas

  • Rank
    New

Profile Information

  • Occupation
    Cinematographer
  • Location
    Ontario
  1. Thanks Jeff, I ended up using the kino's to light larger groups, not the Arri 1k, they work nicely! Cheers, Mike
  2. Thanks Mike, I was hoping the dimmer would help move things along faster... I guess that is not the case. Btw, One question to you sir, I don't have much experience lighting groups of people. In this case, I am lighting close ups one/two persons with a key(1k Arri tung) and a fill 4'4 bank kino (tung). What can I do to when lighting 3 or more people, in a medium to wide shot. Theortically I was guessing to combine my 3 4'4 bank kinos to make one larger light source, to avoid casting multiple shadows, Should I just flood the Arri more so it hits more people? Or forego all together the Arri 1k to light groups? Instead bounce some light on to a 13x13 ft scrim I have (which is a movie profjector screen) with a 750 open face and an arri without barn doors? Cheers, Mike
  3. Hey all, Question: I noticed when I applied 250 half white Lee diffusion filter on the barn doors of my Arri 1k, that it changed the color of the light even more yellow. Despite the fact that the camera was balanced for tungsten. It was even worse when I doubled up, the diffusion. This effect may or may not have happened when I used a dimmer to lower the light power, it had the same effect. If this is normal, this will make color balancing a nightmare. The lights were not on for that long, say half hour or so. Cheers, Mike
  4. Hi Jeff, I guess there are a 1000 ways to skin a cat, I thank you for your suggestion. Your approach sounds like i good way to add drama to the background, via texture and shadow. The interior is a punk gang hang out. I tested a 1k arri at 45 degree angle med spot at 8ft high with a stop diffusion on a friend of mine. With a kino as fill, on the right, and liked that look. But I will need to find a way to light groups of people, without casting multiple shadow from two or three different light sources. I suppose using the Kino as key will cast softer shadows. Cheers, Mike
  5. Hi David, Thank's for your reply. Yes, these are 4' 4 bank kinos. Thank's for the rigging advice. So i will rig the Kino's on one wall, and film our shots across on the other wall and middle of room say 10 ft away. And diffuse as needed. I have some Lee 250 half white diffusion and 420 light opal frost. I was concerned about the Kino light fall off. At 6ft they produce 84fc or 775lux, but I have no idea what that will look like. I will do a test but not under exact conditions. For the close ups of the actors I plan to light them more dramatically. With a 1k tungtsen fresnel and fill with a 650 watt tungsten fresnel with diffusion 250 doubled. similar to this photo, but with longer shadows that are filled in more. http://mimg.ugo.com/200805/23238/cuts/romper-stomper_480x480.jpg I hope to use above set up for groups of three or four, but flood the fresnels more? I do have access to a couple 750 plus open faced fresnels... Thank's again David, your time and input are much appreciated. Cheers, Mike
  6. Hi everybody To clarify my older post. I am trying to light a room that is 30ft long 16ft wide and 15 ft tall with three 4 bank kino's. The room is wood and will be dark, except for some minimal house lights, 5x 30 watts halogens on the ceiling.Which I can change the bulbs to 150watts if need be. I want to create a slightly underexposed background ambience, where details are visible. But the room is NOT fully lit. Similair to this reference photo: Ignore the color cast please. I want to use the three Kino 4 Banks to light the background only, but I wouldn't mind some of that background light spilling on the sides of the actors, such as in the photo. Hope this makes sense. Mike
  7. Hey everybody, I'm a first time DOP working on a low budget short film, with tight deadlines and could use some help with lighting a medium size industrial type space. Its a dark rectangular room 15ft high high, 30ft long and 16 ft wide with no reflectable surfaces, except for the front wall which has a large white13x13 ft film screen on it, which I am thinking of using to bounce light off. Using 1k arri and a second light. Or a 4x4 bank kino flow. My lighting arsenal consists of two 1k tungsten fresnel arris, a 700w open faced arri, a 650w and 300w arri fresnel. And two Kino Flo 4x4 Banks. (tungsten) Some background info: We have one day to film and have 14 shots to do. The director wants a gritty realism feel. I want to keep the back ground lights stationary, to one side of the room. To create an ambient low light atmosphere through out the room. I was planning to bounce two Kino Flo 4x4 Banks off the walls, but since the walls aren't reflective bounce the kino's off foam core from the ceiling corner or just aim both Kinos at the scene from up high? Or should i light a 1k arri through a 24x36 silk to create a broader softer light source? As a key light I want dramatic directional lighting, slightly harsh. But with some fill so the shadows aren't jet black, and try to get the shadow edges a little feathered. For closeups Im thinking to use a 1k arri as a key 7ft high at a 45 degree angle with a 650w arri diffused from the barn doors as fill on the other side. And to move these two lights as needed and flood them out for lager groups off people. Any insight or opinions would be most helpful. * I have included a photo for reference of the room, on shooting day the room will be empty and darked out. Cheers, Mike
×
×
  • Create New...