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charlie ricottone

Basic Member
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Profile Information

  • Occupation
    Camera Operator
  • Location
    Ontario, Canada
  • My Gear
    blackmagic production camera 4k
  1. a huge part of the show I'm on right now are the interviews. We need continuity over months of interview setups so I've been tenting windows and punching daylight through sheers. Pretty standard but as I'm in Toronto and as winter is on its way the weather and especially winds are getting much much stronger than in the past 3 months of shooting. I've been using a combo and 4x flop as a topper and wrapping a 12x solid around it to create the space for a light inside. Heavily bagged this setup has had a pretty small footprint and been good enough. It also allowed me to be back off the fixture a bit and fill the entire widow frame Do any more experience grips have better solutions for tenting especially in higher wind situations.
  2. im looking for some 48"x48" egg crates to attach to 4"frames of diffusion, but i cant seem to find anybody who makes them. most companies are making odd dimensions. i just want to manage the spill when floppies are a bit too large for the space. i've done a bunch of searching but haven't come up with anything. im assuming some smaller specialty manufacturer would have them. any ideas?
  3. just wondering if anybody has any experience with both of these monitors? im leaning towards the dp7 as it has better contrast and colour but im wondering if anybody has any opinions regarding these two? i've ran into some trouble with a used dp7 oled purchase from adorama. they shipped me a defective unit and the exchange process has been brutal since im in canada and already paid duties. they dont have a comparable used unit to replace the defective one so im weighing my options and considering just getting a 702. i love the image off the dp7 oled but im thinking it might just be easier to get a 702 at this point. what do you think?
  4. a little bit more hair light might be nice like you said. definitely try using some flags to keep your background black if your having trouble with that. some cheap black board from an office supply store works well. it doesn't have to be pretty. you can clamp or tape it to just about anything. this looks great for your first lighting setup.
  5. i ran into this on a small corporate shoot a couple of weeks ago. the space was lit exclusively with cool white flo tubes in the ceiling. all i had was an arri tungsten fresnel kit. I shot in prores 422 on the bmpc4k. basically what i did was white balance in camera to the practicals using the vector scope on my external monitor. i think it ended up being around 5000k with some green shift [i cant remember the exactly]. then i killed the practicals, turned on my key light and added ctb and plus green gels to it until the white card position on my vector scope matched where it was when the practicals were on. when i found the closest combination of green and blue gels, i then added the same combo to the backlight. here is an ungraded still from the shoot. its a super boring space, but you get the idea. i'd love some feedback if ya'll have any.
  6. really appreciate your advice. im using the arri photometric app. when factoring in for roughly a 2 stop loss using full grid cloth, would put 25% for the filter factor ? this is the only part of the app that is unclear to me. i cant find any info pertaining to it.
  7. i can fly the 12x, but if we push more than 15,000 watts in the studio there is an additional fee for power that we dont want to take on. would punching a 5k through the 12x make sense, or would you just stick to the 8x in this instance?
  8. the client wants some head to toe shots so ill be pretty wide at times. in regards to the space lights, i was thinking about placing the talent close enough to them so that i could get some hair/backlight and maybe adding a kicker if i feel like i need it. although the more i think about it, i may just pull the subject off the space lights as far as possible to have more control. the cyc camera left will help on the fill side and make it so that i dont need too much power to fill things in.
  9. hey, can get some opinions regarding my lighting diagram. its a simple corporate gig. i want to shoot around f4-f5 at iso400. just wondering if you think this will be enough light to do that? also, i've done a lot of shooting with arri tungsten fresnels and the Blackmagic Production 4k Camera [which ill be using for this shoot also] and seem to be getting what i think is some ir pollution. im thinking about picking up this hoya ir cut with some step rings. http://www.bhphotovideo.com/c/produc...mm_UV_and.html any critiques/suggestions regarding lighting or filtration are much appreciated.
  10. just thought i would update for anybody interested. we ended up getting some cheap dimmer boxes and a bunch of spare lamps. everything went really well. we didn't need to replace any of the lamps throughout the day. the one thing i would mention is that we rented a couple of 1k lowel dp's. they worked pretty well on dimmers, but near the end of the day started to flash around 20% brightness when dimming down smoothly. im thinking the bulbs were on their way out or the dimmer boxes were just made of cheaper components. anyways just thought i would mention it for anybody planning on using them for a similar application. maybe somebody has some insight as to why this may have been happening.
  11. im shooting a music video this weekend where we will have 8 fresnels turning on and off around 80 times throughout the shoot, all cued by the song. will sparking a fixture that many times in a short period deteriorate the lamp quicker than normal? i always have a couple of spare lamps in the kit, but should i have a lot more spares in this instance?
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