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Albion Hockney

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Albion Hockney last won the day on May 15 2018

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  1. Yea the LED light companies over the hype the output on all of these lights so much!
  2. You can actually use the 1600W Joker with the source 4 attachment.
  3. It depends on what you need from the city. The film permit itself is usually not very costly, but often you need police officers or the help of other city services for large budget shoots. On a large scale I'm not sure how it works - for example if you are interfering with a strip of business's. Cities like LA where production is a business charge much more than smaller cities that may not even have a dedicated film office.
  4. I think it is important to keep in mind there is all highly subjective. any sort of "guide" may generalize greatly. For example that you need more light to properly illuminate darker skin tone is certainly not always true. Also important to keep in mind that this subject intersects big with racial issues.
  5. What "psychology"? That women's brains must be wired to spend time doing docile tasks. This sort of social constructed idea is very dangerous and ugly. I should also note the idea of "merit" based job hire is a complete false hood. Your portfolio is yes partly do to your skill, but also do to luck and the work of those around you. IE if your a marginalized person it maybe be hard to create as shinny a reel as someone else... you might be just as good though. This is why most people in the industry don't come from low SES backgrounds. I know director's who've lost commercial jobs to women because of free the bid. They didn't complain for a second. They are happy to make the industry more inclusive. I think its also important to note there are no women posting here and that I believe the average age of the men in this conversation is at-least 35-40+. I would suggest you all speak to some of your younger peers. Ideas on this subject have changed considerably for the better.
  6. Assuming your goal is to create a direct sunlight effect it's hard to say how large a unit you will need without knowing exactly how bright the space is. You might get away with an M18 an M40 would be safer. How much space do you have on the right side of that sweep to light from? Another concern is creating enough space between the lamp and anything you use to create the pattern on the wall. If you want hard clean lines you will need a minimum of I'd say 10-15ft feet between the lamp and the items you will use to cut the light to create the patterns. Unless there is a large amount of room the right of the sweep to me it seems the space might be too small to use one source to create a large enough sunlight effect that could both light your talent and your background in a Wide shot like your Wide reference. You could open that door on the left and use large Solids to create a tent and light from there (though that takes a solid crew to manage. Or if its north facing and you can place an M40 out there that might be enough. Another route might be using Jo-Leko. Gobos are attachments for ellipsoidal lights like a source 4. They can create hard shapes/patterns without flags within the light itself. This might be a good way to go, especially if the space is tight. It might be easiest the use a Jo-Leko which is an 800w or 1600w HMI with a source 4 attachment for a streak on your background. The cost is about the same/little bit cheaper then an M18. Then you could use a 2nd source to light your talent. Not sure of a 300d would be bright enough. Maybe get a 2nd Joker 800 or M18 if you can afford it. Your reference photos of hard light on the side of talent, but you could try a soft daylight source like a 2nd Joker or an M18 through diffusion. In addition I'd plan for some large solids to control contrast in the space if continuity isn't a big issue try to work with the actual sun. Will probably look the best.
  7. It costs more to rent a 416 than an Alexa mini right now. crazy.
  8. Hey Adam, just out of curiosity for a wide two shot toward the windows how would you put that into practice?
  9. seems like the lighting ratio inside to outside isn't bad, although I'm guessing that is a cloudy day? on a sunny day it could be an issue if the background outside gets direct sun. I think light sheers on the windows would be good. I'd try to keep the top windows in frame if it isn't too wide a shot because they look nice. I'd consider a wall spreader across the room halfway between the windows and the ping pong table and then rigging something like a few Litmat4's w/ eggcrates or maybe skypanel's w/ chimera + Eggcrate on them to carry the window light further into the room and edge the talent a little. I think Miguels Idea with the polyboard and the 4k's or even something smaller like M18's or JoLeko's could work. But it might wash out the whole room? With the wall spreader and Skypanel's w/ Chimera + eggcrate you get more control EDIT: Shinny/silver board with JoLeko's might do a similar thing but be much easier to rig as per Joesph's Idea. I'd use two of them. The key is to get a board that will reflect but also scatter the light to soften it. so you get a controlled soft light.
  10. Yea I agree, that is well said. those movies would be very different with out the budgets they had. However I will say much more of a concern seems to be just having films with creative intention/vision that are given budgets that are sustainable. So many talented and even acclaimed filmmakers struggle to even get 1-5million to make a movie they care for and would be valuable to be made. and again for Morrison to not be creatively fulfilled with out that scope, it just seems like missing the point of an artist practice which is often about creative problem solving.
  11. Deakins is also a very wealthy individual. He could certainly make enough money shooting lower budget films if he chose, and also can shoot commercials whenever he wants if he needs the cash This whole thing is a sorta woe is me for the very highest end of the industry.
  12. Do you see the grain in the source file you upload to vimeo? Often you need a quiet high bit rate to resolve grain.
  13. I don't wan't to assume this quote represents morrison's feelings as a whole but...You need a 100million dollar films to be creatively happy? that is a little ridiculous. Especially considering I'm sure Morrison is quite wealthy. I think we need more 5-25million dollar films with strong creative vision. The fact that 20million is looked at as not enough to make a movie seems like a problem. Maybe the way we are shooting and organizing the production of these projects needs to adjust so budgets can be used in a way that benefits both crew and production. “I love shooting. It’s all I’ve ever wanted to do and if they were still making $100 million dramas, then that’s what I’d be doing,” ...and your directing films because you can't shoot huge breadth films for 100million with large scale crew. If your creativity is only fostered by this scale and level of capital...maybe you need to adjust. Just rubbed me the wrong way.
  14. If your going to shoot your own or others lower budget projects to build your reel an Alexa Classic can make sense. Its not a great financial investment in terms of pure business sense, but maybe it is the right thing for you if you think it will get you some work that you can build a reel with. I would plan for at least 10-15k to get it up and running with all the AKS.
  15. Pola will not impact the look of other filters. And Pro Mist or any other diffusion filter will not impact saturation. Pola doesn't really create contrast, it does cut down on reflected light and in doing so can make a more contrasty image if there is a lot of reflections in a shot. Diffusion filters work very differently. Its sorta an apples and oranges situation - Although both can have an impact on contrast they work very different. From what I know most people use Pola to either create a Bluer sky OR to cut reflections down when shooting reflective surfaces (cars/windows/sometimes skin). I would assume the Arri rota pola is of good quality, probably better if not as good as the tiffen and I always assume I loose about 1 stop of light with Pola - not sure exactly about "1.2" stops that is very specific, but Arri isn't one to get something like that wrong.
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