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Dan Quigley

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  • Occupation
    Producer
  • Location
    Atlanta, Georgia
  • My Gear
    Canon C100, 5D, 7D, 550D, Sony EX3

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  • Website URL
    http://www.Q9AudioVisual.com

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  1. With all the time it would take to rig this, along with how flimsy it would be, I would be more inclined to buy an Amaran 300x and Aputure's China Ball. Having now looked at the Filmtools China Ball, I would guess that the paper has better diffusion but the nylon would be more durable. You could get some duvetyne and use that to skirt/flag it.
  2. David, for a shot like this, how choreographed is the actor? The Rembrandt lighting is very dialed in and I could see losing the catchlight in her left eye with just a subtle turn of her head. Would the actor be given a very specific eyeline?
  3. True. I would worry about it being too "sourcy" but I bet a large one could help. Especially if you're in a situation where you don't have other options or space. Thanks, David. On really low budget stuff, people are quick to shoot light into the ceiling as their key so I have always tried to avoid that. However, it makes perfect sense for raising the ambient light of a scene. All, here is an example just for fun. I find myself wanting to retain some detail in the bottom half of the subject's legs along with other dark areas of the shot without a "sourcy" looking light. Sounds like a large bounced light behind camera at low intensity would do the trick. Thanks, everyone.
  4. I was surprised to see the same thing on skin tones in my BluRay copy of Home Alone 2. Agree with David and Piotr, I think both statements are true and compound eachother.
  5. I would say yes. If you are committing to a look, I would do it in camera as opposed to relying on post production. However, I'd be doing tests to see if it was something I liked. There are advantages to doing the look in post. For instance, you can dial in the intensity for the image as a whole and also for secondary corrections like skin tones or a prop. If you are shooting for black and white, colored filters still have a practical use. An example would be a red filter that could be used to drop the luminance of the sky.
  6. Hi there. I'm seeking ways of creating more ambient light or front fill that looks non-directional. For example, I motivate a backlight source but there is no other light source to motivate from so I increase ambient light to retain detail. What is a basic strategy for doing this? Could it just be a light punching through a 6x6 diffusion behind or near camera and then adjusting the lighting ratio for the backlight to get the intensity you want?
  7. Thanks @Chris Pritzlaff, that is incredibly helpful. The ceiling as a giant softbox is very interesting.
  8. I tired to find an interview or something but no luck. The rooms have a ton of practicals but there has to be some ambient light there as well. Do you all think they maybe just did a large booklight or did they dare bounce off the ceiling? It could have been all sound stage with lights from above but there are shots where the ceiling is seen. Say there was a ceiling at all times, was there maybe just a china ball or a litemat?
  9. Any one try out MustHD's monitors? The specs seem nice but they seem relatively new so I haven't seen any reviews. https://www.bhphotovideo.com/c/product/1312213-REG/musthd_m702s_7_1920x1200_full_hd.html
  10. That looks great. The green tint is so slight that it shouldn't matter and if you guys used an atmos it should be no problem to raise the shadows a bit in post to compensate for the fill. How did you rig the softbox above the table?
  11. For the first scene, it seems like you have a good plan already. Softbox looking down would create the look you are going for. You will have to just see for yourself if those led practicals are too bright for the low key look that you're going for. I'm guessing you can't replace bulbs in the 3000k LEDs?If you can, you could try something that's less bright. The HMI for fill is good too, you will have to play to get your contrast ratio to where you want it. My major concern would be the color balance for the lights you are using. CFL's are nasty with green and probably wont mix well with the HMI. If you plan on using the CFL with the HMI in multiple setups then you might want to do some tests and try adding some purple gel to the CFL. For scene 2, I'd be careful once again of the practicals but it's good that you have them on a dimmer. The setup looks good. Id' imagine you might have difficulty with the softbox you are using for fill. That room looks kind of tight and it might be hard to stop the fill from overpowering the key. You will also probably have to use blackwrap to keep it from spilling too much on your subjects.
  12. Hey All, I'm trying to transition from Commercial Video Production into the Film Industry but seem to have a hard time getting my foot in the door. Does anyone here have experience with the Atlanta market or know where to look for positions? Looking for a Camera Dept. P.A. position or something close. Below is a link to my commercial work. Thanks in advance for any info or advice you may have. Cheers, Dan www.quigleynine.com
  13. SanDisk Extreme hasn't given me any trouble since switching. Thumbs up to those cards. However, I've not been succesful using it with a custom bitrate in magic lantern. Not really an issue though if you dont use that setting.
  14. Do you have magic lantern installed? Having a higher custom bit rate can trigger that as well.
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