Marc-Andr

David is awesome yes! His insight is always useful.

Thank you! What do you mean by Rec709 encode? What I do is I use the film log space and I grade it all manually. I don't use the horrendous bmpcc film to rec709 LUT in resolve.

Hello all, I wanted to know if it was a good idea to slightly sharpen the bmpcc footage in resolve for theater projection at film festivals or if it's better to keep the footage unsharpened. I find that when I apply a very small radius light sharpening it makes my images a lot better but would it look good too in a cinema or would it make it look too digital or draw attention to the pixels?

Lolll thanks Robin. Kenny, what about the extensive greenscreen work in Toxic? The motorcycle scene, the laser room backflip, the wall climbing. Are you saying the keying was done on sd resolution?

I'm not gonna lie, I like this over the top look. But I'm probably biased since all these pop videos were my teenage years. Ohh nostalgia :P.

I've always wondered how the videos from the early to mid 2000's were made. I guess they were shot on 35mm but some of them look very videoish with the blown highlights, crushed shadows and extreme contrast and saturation. It's hard to see the texture since they're all in 480p on 4:3 format. Anyone has an idea? Here is what I'm talking about: Britney Spears - Toxic https://youtu.be/LOZuxwVk7TU Christina Aguilera - Can't hold us down https://youtu.be/dg8QgUIKXHw Beyoncé - Crazy in Love https://youtu.be/ViwtNLUqkMY

Do you also use regular incandescent bulbs on practicals that light the talent or only on the practicals that are more "decorative"?

Hey guys, I was wondering what are your preferences for practical lights bulbs. Do you use standard 2500k incandescent bulbs or do you try to match 3200k? Or both depending of the look wanted. I know that Kino Flo makes 3200k CFL bulbs for practicals but they're pretty expensive. Personnally I found some Globe brand 3200k halogen screw bulbs and they look really nice. I also bought a few 150w and 250w 3200k halogen bulbs like that http://www.bhphotovideo.com/c/product/854069-REG/Sunlite_03055_250T10_Frosted_Halogen_Double.htmlto use in clamp lights since I only have smaller than a 1k fresnel Arri, which is pretty heavy and overkill to scrim down too much. Do some of you use photoflood incandescent bulbs for practicals? The fact that they burn out very quickly would make them very annoying, no?

The art usb dual pre is a preamp for your microphone so you can boost the gain cleanly without noticeable noise.

It looks like a medium sized studio with a grey backdrop. A softbox with grid at right for the key light, no fill and a kicker at left. And there's also a background light to make a pool of light on the backdrop, probably a focused fresnel. it's pretty simple actually.

That's some nice work you have? How long have you been doing this?

Hello Swtiris, the NTG-2 works with either a battery or phantom power from a preamp, mixer or recorder. I would buy the H4N because it has XLR inputs. However, the integrated preamps are really not good and will give you a lot of hiss on your sound. You need a dedicated preamp before the recorder. You don't need to go really expensive, I have this http://www.bhphotovideo.com/c/search?N=10615405&InitialSearch=yes&sts=piand it gives me 40 db of very clean gain. You can use a 9v battery to power it so it's portable for field and dialogue recording. Also note that a shotgun microphone is not good for interior dialogue. It gets phase issues with the reverberation of the space, it's a lot better for outdoor. That being said, if you are close enough to the talent it should still sound half decent.

Yes definitely! When you say for effect, you mean a color effect or for playing with the intensity while filming?

Yeah dimmers.... I avoid them as much as possible. I don't have 1/8 and 1/4 ctb to counteract the color change, I only have 1/2 and full.

I use the double scrims, but I find they leave a grid pattern on the light beam. I also have nd gel that I have yet to use. But I should just use lighter lights I guess when I need a dim hard light. I could use either my led panels or some clamp lights. The double scrims are supposed to cut 1 stop of light but I'm not sure it really is the case.

I have two arri 1k fresnel, 3 softboxes housing 4 bulbs each and I have 8 45w 5500k cfl and 8 3200k cfl. I have two cheap portable led pannels and 2 clamp light. I have a couple of cto, ctb, +green and -green gels. I have some white bed sheets for diffusion if I need to and a 5 in 1 reflector. I have a big gap in my kit, I need some small 300w fresnel lights because gelling and scrimming my 1k is a nightmare.

your work is really good. I like it a lot!

I love it! It looks super nice. I'd also like a more vintage design or the lamps though.

Wow Satsuki that looks great. I can't believe the first frame is lit only by the chandelier. It looks like there was a net behind to cut some light off the back wall. Also it looks like there's a light behind the center man's face. David, is the net filter you're talking about a lens filter? Albion yes I believe that taking time to design or choose practical practicals is very important. Maybe some people think that "we're gonna use movie lights anyway so who cares". I created this post out of curiosity because for New year eve I had dinner at my uncle's house and there was this chandelier over the table and it lit the space beautifully. The sides were frosted so the light was directional and faded on the walls. It was interesting. Comping seems like a good idea too. I guess it would also work for blown out windows.

Thank you very much!

Hello, I searched the forum to see if the topic has been adressed already but it seems like it hasn't. I was wondering how we could effectively light a kitchen table scene with a low hanging chandelier or practical lamp fixture that is visible in the frame, especially for a wide shot. Is there a good way to do it? It seems to me that the lack of place would make it hard to have a balanced angle, you would either light it from above the chandelier and get disgracious "midday sun" shadows on people's face or you would have to light from under the lamp, creating flat unflattering shadows. Or is it that the practical is lighting the scene? In that case if the chandelier is made of frosted, stained or transparent glass it would blow out completely. Thanks for your replies!

Earlier this year I bought two As Arri 1k lights. I specified that I needed american plugs but they sent me european plugs so I had to buy adaptors. But then I realised that they were not grounded so I went to Rona and bought some plugs and replaced the european ones with them and now they're grounded. They also sent me 230v bulbs that were very weak and orange so I ordered 120v ones and now It's perfect. Other than that they have no problem beside one set of barndoors that is crooked. I would buy more but I'd make sure they work properly. I hope they are safe now.

Thank you very much for the answer! I was thinking about the last option but the first one is so much more practical, i'll try it.

Hello everyone, this is my first post here. I've followed this forum for quite a bit now and I decided to create an account finally. My name is Mark, I live in montreal. I have a little question. Let's say the actor turns the lamp on, is there a way to make the fresnel carrying the practical turn on at the same time automatically or you need someone to turn the switch of the fresnel at the same time manually?