
Albion Hockney
Basic Member-
Posts
723 -
Joined
-
Last visited
Everything posted by Albion Hockney
-
LTM 18k vs Arri 18k
Albion Hockney replied to Joshua Echevarria's topic in Lighting for Film & Video
hmm wish I could give better insight. I'm not sure the actual difference in beam quality and brightness. if your on set and wish you had more light out of the 18k Fresnel its unlikely that an arrimax would make THAT much of a difference. -
LTM 18k vs Arri 18k
Albion Hockney replied to Joshua Echevarria's topic in Lighting for Film & Video
you can prob check photo metrics with arri calculator then. -
LTM 18k vs Arri 18k
Albion Hockney replied to Joshua Echevarria's topic in Lighting for Film & Video
are you comparing against an Arrimax? if so and you need the power the Arrimax will be much brighter. if your talking about an Arri Fresnel I would imagine its similar? make sure the bulb and ballast are in good condition -
Faking Sunlight with a small crew
Albion Hockney replied to indiana wilson's topic in Lighting for Film & Video
if you over expose an overcast day and manage the fill side to create contrast. you can create a sunny feeling for sure. just manage your backgrounds.... don't show wide open vistas of overcast light instead treat the sky like a big soft source and find backgrounds with texture. keep in mind sunny days don't always have hard light in every frame. 600d as a little backlight in tighter shots will work okay for interiors. I might try to swing for a 1200d or m18 for one of your key lights. maybe even an M40 which can be handled by a crew of 2-3 if you don't use many lights. -
Looking to buy a barney for Arriflex SR2/3
Albion Hockney replied to Felix Finken's topic in Cine Marketplace
I think they are supposed to be quiet enough to shoot dialog no problem. might want to check there aren't other issues effecting the camera? -
I would rate my camera at 7500k white balance or so and just put 1/4 or 1/2 O on the Joker (as to not diminish the intensity). I'd place that light as far as I can from the window to get the least fall of possible inside the room. I'd hang an 8x8 bounce above the window table top'd and bounce a couple lights into it for skylight make them really blue like 10000k... and just mess with the levels of both till I thought it was realistic. I'd keep a light inside with me to further fill in faces as if from a window off camera and then I'd have a pizza box or 4x4 bounce around to pick up the shafts of "sunlight" and bounce them back into my talent. it should be noted that the 8x8 over the window might play pretty subtly if its a high contrast scene with direct sunlight, but depending on much of your scene is actually lit by direct sun it might be useful. for example if you have one tiny shaft of the last light from the sun then a lot of dim blue ambiance would be noticeable from the window and that soft light could do a lot of work. if you only have 2 lights that is a challenge but if you are shooting tight you'll be fine. Just get the sunlight through the window and fill it in ...it will be dramatic looking though. to get a sharp venetian effect you there neither to use a joleko with gobo or place the blinds maybe 10 or more so feet from the light....depends on truly sharp you need it to be.
- 31 replies
-
- lighting
- natural look
-
(and 2 more)
Tagged with:
-
Scripts for short films
Albion Hockney replied to Jon O'Brien's topic in Students, New Filmmakers, Film Schools and Programs
all the process of making films, the lights, the cameras —the part us technicians love is in service of artists telling stories. the writing/the idea ....the thing on screen. this is the most important part of the whole deal. -
you can get a rough idea though and studying frames this way is a great way to learn.
- 4 replies
-
- lighting ratios
- lut
-
(and 1 more)
Tagged with:
-
If you want the image to look exactly like this but not see out the windows I'd just lift exposure on the window itself in the color grade. your essentially saying you like the lighting in the shot, you just want the background out the window too be brighter. if you had a budget you might just take a 12x ultrabounce and throw some light at it out there, but then you will have no texture at all out the window.
-
Best 16 mm Camera for shooting action shots outdoors
Albion Hockney replied to George Hill's topic in General Discussion
I know back in the day the arri 16s was the go to for ski/snowboard films. I knew someone who had theirs converted to s16. -
Best Lens Set under $60,000?
Albion Hockney replied to Max Field's topic in Lenses & Lens Accessories
S4's are T2 and Mini are smaller and T2.8 —I'd reco doing in depth research on your own. lots of info and tests out there to compare. the "i" versions in mini and standard designate lens data pins that communicate with the camera -
Best Lens Set under $60,000?
Albion Hockney replied to Max Field's topic in Lenses & Lens Accessories
Cooke lenses are just less popular right now. Super 35 coverage is part of it, but they have full frame lenses now too. The Cooke i5's just never took off and nothing has really hit since the S4's. I donno exactly why. they do look good. just happens that way sometimes. Ultra primes are also out of style the Tokina vista primes are very affordable and very sharp. great value —just bigger. Masters are heavy and big The Leica's are like crazy expensive. Very sharp honestly....they all look pretty good and most spherical movies on modern lenses ...viewers would be hard pressed to notice any major differences. -
a shadow being too harsh is subjective, sometimes you want strong shadows —other times not. no rules here. the quality of light you have looks alright to me. the easy way to wrap the light more is just bring the whole unit to be slightly more frontal and the light will "wrap" around her face. if you want to further soften the shadows you might try adding in a second more frontal source that continues the book light and blends into that first source. you can keep the 2nd light dimmer then the first light so it doesn't feel too frontally lit. the bigger the light source the softer the shadows will be.
-
First time working with a viewLUT
Albion Hockney replied to Joshua Kohler's topic in Post Production
on a bigger project you have a DIT with live grade capabilities —so your feed is going from the camera into their setup and back to your monitors all live. This allows you to work with a couple luts and play with things as you go. Without Live Grade you can load in a Lut to the camera and you treat it just like using the arri viewing lut. Remember the picture you see on the camera normally is also a Lut the camera is shooting LOG, but the arri rec709 transform is just being applied internally to your monitors. no matter what its all pretty simple at its core. The camera shoots arri log and you are just applying versions of a rec 709 transform. in the color grade many colorists use the DP's lut or their own luts as a starting point for a grade instead of just grading straight off the log. you can work with colorist to make a lut and then load it into the camera ahead of shooting. I think there are also Lut's for sale or to download —but i'm not familiar with that. this stuff rarely changes what you actually do on set, I think in some circumstances especially with over/under exposure effects it can be helpful -
Exposure in Robert Eggers Nosferatu
Albion Hockney replied to silvan schnelli's topic in Lighting for Film & Video
also reminds me the deakins cove light -
Lighting question for shot of subject at PC
Albion Hockney replied to Andre Klonowski's topic in Lighting for Film & Video
keep in mind. lighting is simple. if your background becomes too bright when you turn a light on, that's because the light is hitting the background too brightly. one method we use in that situation is to "flag" the light off the background with black fabric -
Recreating Dusk Light in Studio
Albion Hockney replied to Ruth Vilas's topic in Lighting for Film & Video
Blue always confuses me. I've had skypanels at 10k blue and balanced the camera for daylight and it didnt even feel that blue. You can always just push the camera white balance warmer and put your tungsten sources at like 2K kelvin too. your lamp plan seems good. if you have windows with a translite or something keep that in mind too....that might be the hardest part to sell.