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Daniel O'Flaherty

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About Daniel O'Flaherty

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  • Occupation
    Cinematographer
  • Location
    London
  • My Gear
    Sony F55, Sony F5, Sony FS7, Sony A7SII/A7RII, Canon C300, Canon 5D Mark III, Arri SR2, Bolex H16, Canon XF305,
  1. Hi everyone! So I am doing a music video in a couple of days. 2 particular scenes I wanted to fill the background with Maxi Brute lights using them as practicals behind our band members (to resemble stage/star lighting). My location is a hotel and after speaking with the electricians there they have assured me they have enough power to run 2 of these lights off their main electrical room (the light is 3 phase and 62 amp I believe which has been giving the okay by the electricians at the hotel). I want these lights specifically to be used as practicals for when the band member walks on stage and we see these in frame lighting him from behind. Is there any other light that looks like the maxi brutes that I can use in the frame behind the performer? Or shall I continue down this route using these lights? Any suggestions would be appreciated or advice on these lights. Thanks! (P.S. This is the look I was thinking of)
  2. Hi guys! Once again thanks to those on here for their help & support. I am about to do a shoot at a theme park on a dark ride. The client wants to show 2 rides. The 1st is completely pitch black except for some areas - eg. passing through LED fire ring, LED star, etc) but add not a lot of light at all. The other ride lighting is hitting the props/character installations but no light on the coaster or people. I went for a recce and the lights hitting the character installations on the 2nd ride expose around F 2.1. So I have gathered lenses that can accommodate for this. I am in the middle of planning what lights I will need to highlight the areas in complete darkness for both rides. I am trying to decide whether I need a 5k Arri Tungsten with 2x 2k Blondes or will 3x 2k Blondes be enough without a 5k. My idea is to not make them look lit in the most case going around the ride but more to just bring up the ambient light on the actors. I can take a 5k and bounce off Polly for the ambient, filling in other areas if need be with 2k blondes or just do this plan with only 2k blondes. If I choose to use a 5k I will have to do a long cable run from the control panel, however, I can power 2k's from inside the location. I also am debating whether to rig small lights to the rollercoaster next to our rigged camera for our reverse POV, so I have a consistent exposure on the actors while they go through the ride. Or if I should lock the ride off and try to recreate this with lights, a fan, and a dark background. Any thoughts on this also would be appreciated. I am attaching some pictures below. Please let me know your thoughts:
  3. Hi Stuart. Yes I will have a chance to look at them tomorrow. They are Rola G80 5W. Their color temperature is 2000k so will be incredibly warm. But this may look quite nice on camera will have to see if I should dial my camera WB closer to this or leave it at 3200K
  4. These are great suggestions JD & Adrian thank you. I have called the company the production designer had got the bulbs from - there actually 5w LED's so they will output 50 watts! I think I can relax a bit now and be fine for my wide - then in my mids & close-ups fill in with a Sky Panel or a Jem Ball. I am considering Sky Panel or Celeb instead of the Jem Ball as I will already have one of these lights for the day - a Jemball will add to the budget. If I can get a jem ball like chimera for the Sky Panel S-60c or Celeb I think that would work great. What are your suggestions on this? Thanks again guys!
  5. Hi guys! Okay so I have a shoot coming very soon. One particular scene is in a garden at night, with friends around a table eating & in conversation. Its gonna be 10/12 seconds in the final video. So I want to put up hanging lights between 3 palm trees in the location with the characters underneath the lights. I tried looking in to research for other DP's who have done this look quite nicely. Deakins in Sicario I found he used 40 watt bulbs and there is quite a lot of them (plus light bouncing back down off the ceiling). Here is an image for reference: So here is now my location. All exterior so no bounce from the lights giving me extra illumination down there. So obviously this will be at night. The hanging fixtures as mentioned will go between the 3 palm trees (table and actors near center). The production designer on our meeting had with her the hanging garden fixtures. She had also 5w bulbs. Each meter of the hanging fixture is 2 bulbs (10 watts with these bulbs). I am worried that once this all is hanged up it won't be enough using these bulbs to light the scene. In my head it's around 200w over the talent heads, but if Deakins is using all 40w bulbs there than it makes me think I need to put higher wattage bulbs in this too. I could use a 500w / 1k Jem Ball over the top of them if this happens, but I kind of like it being easier to set up the wide only using the practicals & then with my MIDS coming in with a soft source for their faces (granted I am only getting 1 wide but still saves me putting up this giant light up top). Let me please know your thoughts. Would this be enough with these 5w bulbs? Should I get a bunch of 20/40 watts instead? Should I fill in the 5watts with a bigger light up top out of frame? Anyone who has done something similar before I would really appreciate the feedback. I am using the RED Epic Dragon to film. Thanks!
  6. P.S. if someone can tell me why when I put in the link to a video the actual video does not show up, but rather you have to click on the link. Same with attaching your pictures on your hard drive. So difficult for me to find these solutions atm. Thanks!
  7. Hi Miguel! So sorry for the late response I tried to reply ages ago but had so much trouble with attaching pictures on the site. The shoot went very well, thanks so much for your input. I got an Arri 60-C Sky Panel & an M18 instead of 2x M18's. Really happy I did as by the pictures that were shared with me the room I was filming in looked a lot bigger to put a light down to bounce but once I got there & saw it I could see it was going to be an issue (especially that all the clients, etc where huddled alongside in the room), so really glad the Skypanel was on me. Here is a link to the finished piece if anyone is interested seeing it: https://www.youtube.com/watch?v=790tCS-Jgts Thanks for the advice Miguel!
  8. Hi again everyone. Not really a question this time but would wanted to show my lighting plan for an upcoming project to get some feedback. I have attached my lighting plan... The talent will be talking to camera and cooking. The background will be dressed with Christmas decorations and what not to celebrate the coming season. I want the lighting to be very soft and cold, to have that winter feel. I'm shooting it all in daytime. I'm using an M18 through the left window (only window our too the left) through a bed sheet which will highlight the background and rim our talent. The other M18 is inside in front of the talent which will be my key for her. I plan to bounce it and have the light come through another bedsheet to get it softer. For the fill, I will bounce it in from my M18 sources. I guess actually I do have a proper question. Would you recommend an Arri Skypanel S30C through multiple diffusion instead of the M18 inside? The kitchen is very small so I did think at one point maybe I should go for that instead. The shoot will start early and end before sunset. Anyways any feedback would be appreciated. Thanks so much!
  9. I will be shooting on the Sony FS7, native ISO I believe is 1600 to *2000
  10. I will be shooting on the Sony FS7, native ISO I believe is 1600 to 200 so will keep it at this level. I want to be working around 2.8f-stop. For one of the scenes the main source of light will be soft moonlight through the set window and some fill above set. The next scene I want harsh moonlight to be the main source of light with light coming through the set door representing the hallway lights. And the last scene I want to have the main source to be harsh moonlight again but with 2 practicals on in the room. This last scene is a fight scene so I was planning on having the practical fall to the floor and as the subjects fall to the ground that practical motivating the low angle light horror look on the attackers face at some stage. However I want to try to keep the consistent look of harsh moonlight shadows being made in the background. It will be 1 window. Set dimensions will be... Height: 9 feet Width: 14 feet 1.291 inches Length: 22 feet 11.591 inches
  11. Hey everyone. I have a week shoot coming up were the budget is quite tight for me. The cheapest option is to get tungsten lights for the film, however we have a few scenes interior day and a few night scenes were we want to show moonlight. There is possibilities I may be able to get my hands on 2x 1.2 HMI's and 1x 800 Joker however to help with this. Our last 2 days are in a studio I have to light for moonlight and daylight through the set bedroom. The studio will give me all of there lighting for free however it is all tungsten lights. To give myself a bit more budget I was thinking of returning my lighting kit 2 days early before we shoot the studio bedroom scenes and just use there lights. Although this would mean me using only tungsten lights for moonlight. There strongest light is a 2k Fresnel and they have a wide variety of soft lgihts and hard lgihts between 300 to 2k around the studio. Would this be a good idea or do you think I should bring HMI's to the studio for the moonlight scenes? Will I be losing to much light gelling the tungstens for moonlight?
  12. Hi David. I am in a similar situation at the moment filming in a studio for daylight (sunrise). The set I will be working on does not have a ceiling. I am interested when you say, 'even if the ceiling is off-camera, put a large white frame of something over the set to keep the natural bounce effect'. Could you explain what kind of frame I could get best to do this? What material do you normally use in this situation?
  13. I want the window light that's coming to in to be white. I never thought of that I guess I could try it out and see how it looks. I don't have a lot of room with the lights in the scene as the room is not that big, i'm trying to think of places out of frame where I could hang some lights t the moment. I will try to upload a picture of the location. Thanks Alexandre
  14. Hi Alexandre. Thanks for the tips. I want the room to be quite cool and white. I do have access to arri fresnels and redheads which I am bringing along to the shoot and 3 4x4 bank kino flo's. I was worried about using the Kino's to also light the background and was thinking about doing this with the redheads or fresnels with some CTB on, I have HMI's for downstair use which I can hit in through windows but I wont be able to use them for upstaris. Could the fresnels or redheads with CTB on be ('on that scene you are going to need a big source, ideally far away from the windows', could this be my solution to augment the natural daylight? Thanks Alexandre
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