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Quinton Weiskittel

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Everything posted by Quinton Weiskittel

  1. http://www.dvxuser.com/V6/showthread.php?343524-Arri-650-Kit-1600
  2. If you're looking for a simple DIY solution, you might find this useful: http://www.designingwithleds.com/diy-led-tube-lights-similar-to-london-olympics/
  3. I thought GE Reveal bulbs are neodymium glass, which greatly reduces the sources CRI.
  4. Thanks for the response. Being that it's so difficult to define, perhaps "cinematic" was poor verbiage. I'm really just trying to design interviews that look more pleasing than a flat, front lit talking head. I've never done interviews. Not until now at least... In fact, everything I've done involving video has been aerial, so I'm quite behind the curve with lighting, which is why I lurk around here. Aidan, My latest attempt involved flagging my key. The background area outside of the lamp is 4stops under the key. Albion, You have a keen eye. I expose 1-1.5 stops over the key because the sensor tends to get noisy. The key light is a book light made from a 650 bounced off 4 4x4 bead boards into an 8x8 1/4 grid cloth, and no, you are correct, it's not filling the frame. Do you think this is too contrasty? This latest test had CTB on the background. A suggestion from another post here. Any other advice or suggestions are greatly appreciated.
  5. Kodachrome? My favorite images, but I've never shot on it. For anyone interested Frank Glencairn has a nice article and LUT. https://frankglencairn.wordpress.com/2014/01/15/everything-looks-better-on-kodachrome-k-tone-lut/
  6. BG lighting test. Wasn't able to post both in one post.
  7. Using the search function, I have already researched this topic in previous posts; however, I thought it might be useful to revisit the topic. I've been running some tests with my camera, BMPC 4K, and I'm looking to take the tests a little further. What I would like to know, is what is your advice for composing and lighting of subject and background? Links to examples would be greatly appreciated. Realizing that these decisions are largely driven by subject, mood and content, let's assume we're shooting science based documentary involving engineers and technicians. I've found that a book light from a Arri 650 bounced off foam core into 8x8 1/4 grid cloth gives me a key that suits my taste, and seems easy enough to replicate in multiple settings. If I need more light, I either add another 650, or I bounce off space blankets. I've been varying fill from a reflector from 1:2 -1:4 depending on individual. Hair light is tungsten bulb on a squeezer that ends up warmer than the key. Based on previous posts, I've tried to move away from shooting against flat walls, and move more into the diagonal space. The temperature difference from the windows was to see the difference of daylight and tungsten shot onto the blinds. I thought the flat white from the blinds was boring; however, I'm afraid these are too unnatural looking. Any ideas on that would be appreciated. Also, I realize the background in this grab is horrible. It was more a test of the key light. The second grab is a better demonstration of background lighting I'll use; but, I tried matching exposure outside with inside. After experimenting with that, I'm afraid it's not realistic for me due to rapid weather changes in the NE, lighting requirements, and time. So what are your tips and tricks that I should try on the next test? I'm currently planning on testing 1/4 to 1/2 CTB on background for color separation and adding 45 kicker.
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