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Raphael Van Sitteren

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About Raphael Van Sitteren

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  • Birthday 12/18/1981

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  1. I also agree with you two about backlighting :) My idea was to backlight the drops with the muslim or kino... something out of the image hidden below the car door. But that's when i'm starting to question the idea because I feel that the source being out of frame will tend to make the effect disappear. I'm looking out my window right now, I just sprayed it totally with water. I can only see the drops that are very close (in terms of axis) from the streetlight in the background. The drops form some kind of radius around the streetlight as you can see below, the more I look away from t
  2. I'm shooting a night time scene with 2 characters talking inside a car. The car is parked, the windows are wet from a recent rain (but it's not raining anymore). I'm looking for tips and advices for enhancing the water drops. Here is a screen grab from tests I've shot on a 5D a couple of days ago in a studio (we're gonna shoot on location for the actual shoot, with a RED One) with the kind of lighting atmosphere I'm planning to do. No one was really in charge of the rain drops for this test, so we just splashed water on the window before shooting. My first question is ab
  3. My comment is not based on specs but on testing the 2 beasts. When you compare side by side a C300 and a Sony F5 (both in log), there is an obvious difference. The F5 responds better in terms of color, sensitivity, and dynamic range, that's a pure fact. MP me, I can send you the link of the test I've done if you're interested. I needed to compare those 2 cameras for shooting a sequence of a documentary shot in extremely low light situation (litterally one candle light at some point) and we ended up shooting with the F5, and I must say it was the best choice for that situation and this c
  4. I think the first question you have to ask yourself (in term of image) do I need (can I afford....in terms of feasability not budget) a large sensor or not ? BMCC is being sort of in the middle between large sensors and EX1/ EX3 type of cameras. It all depends on the subject and the type of shooting you're about to face. Run and gun situations all by yourself don't call for large sensor as you'll struggle with focus all the time and end up throwing most of the material away. On the other side, controlable and settled situations, repeatable actions, an assistant, would allow you to s
  5. Thanks David all of this makes perfect sense. When I was saying that I didn't want to fix it in post I didn't mean it was not relevant, I simply wanted to focus this discussion on lighting and decisions prior to post production. I assume it's my way of dealing with things, over-thinking in prep in order to forget about it later on and focus on my guts while lighting and shooting :) I'm happy to have received many ingredients to start testing my cooking now !
  6. Great Mark you nailed it... That's the kind of look I was talking about mate :D So you used a light diffusion (to keep the sparkle of the source I assume) on a small LED panel dimmed down. It seems so simple now that I think about it... Was the diffusion on the panel or further away ? From the look of the reflection in the eye I'd say on the panel.
  7. If you want to go extreme in Low Key look at Philippe Grandrieux's movie "Un Lac" Very loooooow key, so don't watch it unless you're in a pitch black room :) The movie won some awards for the image. Oh.... and it's been shot and lit by the director itself... :huh:
  8. Thank you all for your answers I'm not attempting with one or the other in particular, but I'm happy to acknowledge that Film vs Digital was a factor I didn't think about in this matter...until now. I certainly agree that film is a better medium for the skin. One interesting fact though; the low key images I attached have all been shot digitally (Sony F900 for Three Monkeys, and Epic for Pompeii). That's one interesting lead, it's in accordance to the images from "Three Monkeys" where the source seem rater small. I'd love to see those images of yours with comments on t
  9. Hello, I've been wondering, for quite a while now, how to replicate this kind of "glowing" underexposed look when lighting frontal. It's pretty easy to obtain this effect when it's a rim light like here (event though it's a day scene you get the idea) You have the specular reflection of the source when that source is placed correctly in direct reflection on the portion of the face you want to enhance. If you have a large white surface (even passive reflection) it works like a charm. I find it quite impossible to obtain when you want to have this kind of effect c
  10. Hey, I'm digging up this subject in case someone comes here by mistake... or while randomly browsing through this great forum. I saw "Persona" from Bergman today. There is a sequence that is purely brilliant in terms of eyelight. The 2 main characters are talking to a man off screen. They are beautifully lit, low key with a nice glow, and a very noticeable sharp eyelight It's not a dot but nearly. We can see that the reflection in the eyes of the character further away from camera is slightly smaller which means the key light is not too far away from the camera. Th
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