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Sergey Block

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  1. Thanks! Do you mean flicker shooting with HMIs? Will Flicker-Free mode on a ballast solve this problem?
  2. Hi! I have to shoot on Sony F5 in 240 fps in 2K. There are two options in 2K: center scan and scan full frame. To avoid cropping I have to shoot in "full frame scan" mode, but it's need a 2K low pass filter but I don't have such filter. Are there any filter on front lens (4x4, 4x5.65?) is used for this purpose? Thanks a lot for your help!
  3. Thanks for your answers! It's a good ideat to build a pool outside! But, as I understand, it'll be not so good if I shoot a greenscreen reflection on the water or other mirror surface? (like on the picture below): That is why I should shoot a some kind of top angle in that pool? In case of stage set what kind of lighting will you recommend to use for ambiance for high-speed shooting (300fps)? And is there any approach to calculate how many fixtures I shoul hang per set area (20m x 40 m for example)?
  4. Hi! I have 3 set-ups in a greenscreen stage: - 3 girls walk on water (on 3m x 6m pool); - walk on a wall of skyscraper (on 4m x 10m piece of mirror wall); - stand on the roof of skyscraper. All of this must be wide-shots shooting in different angles and movement of a crane. This shots will be combine with shots of real river, real skyscraper and high angle view of the city. I need some advice with greenscreen and day effects simulation. In a stage I have to simulate overcast and sunny day. What is the best natural and simple way to simulate an overcast day: spacelights or big batterfly frames (or maybe something else)? 1) in the case of spacelights: a] is there any formula to calculate how many fixtures I have to hang by set area? b] any formula to calculate an exposure with spacelights? c] I want to add a little cool quality to a sunny day. Is it real to cover all (or half) spacelights in 1/2 CTB? Is it common way? 2) in the case of butterfly frames: a] how much area of frames will I have to have (taking into account the set area)? b] will it be more naturalistic either light through frames (silk, etc...) or light in reflection? 3) I have several reflection surfaces in a set: mirror floor (4m x 10m) and waterpool (3m x 6m) and I have to shoot this set-ups in many angles. Are there any advices about working with such kind of surfaces and greenscreen/lighting approach etc. 4) can I use some lens diffusion with greenscreen? Thanks for answers!
  5. Great! It's so simple and powerful approach to use one source for the whole scene! So, when you shot "his" direction (from wide to close-up) with the 4K backlight, you moved that 4K for backlight "her" direction?
  6. Thanks you for your answers! It's so helpful for me! So, as I understand, it'll be good for me to have prepared backlight for reverse shot. Miguel, do you mean "to use practical lights and maybe placing 1Ks / 2Ks on them" I'd can place 1K on the lamppost (for example) and take it with 1K in the shot? David, could I ask you some clarifying question base on your work? What was your stratgy for lighting this scene in the "Smash"? Did you pre-rigged some lights in both direction? (and what light did you use?) Thanks!
  7. Hi! - I have some questions about lighting, logistics and time-saving in production. For example, I have a standard two-person dialogue scene. There are 3 shots: 1. Wide shot (two actors standing one before another) 2. OTS MS of 1st person (man) 3. OTS MS of 2nd person (woman) So, in the wide shot I have the main source coming from behind the actors and rigged to the top of the window. After I move to OTS MS of the man, I have the key soft source on the ground (from the left) and add backlight. Then, when I turn to OTS MS of the woman, I have a flat light on the nape of man and not so noble lighting on the woman's face. Because of that, I should cheat the key light and move backlight from the 1st person to the 2nd person. Is it normal process in production? Or should I rig some of these lights (backlight for each person) in pre-lighting the scene? Should I plan it on preproduction? Are there any other time-saving tips for such situation? - And I have similar questions about night scenes. For example, is's a night dialogue scene in the city street. Two actors stand face-to-face to each other, but 1st actor stands face to camera and 2nd stand back to the camera. The shots are: 1. A Wide Shot (1st actor face to camera) 2. OTS CU of the 1st actor 3. B Wide Shot (2nd actor face to camera) 4. OTS CU of the 2nd actor On A Wide Shot I have one powerful light (18K f e) on the condor, situated far away behind the actors. When I move to OTS CU of the 1st actor I add some soft light on his face. Then, when I go to B Wide Shot (turn on 180d), what should I do to avoid flat light? Have I got to move the condor to the other side of the street? Or should I order two condors and 18Ks for time-saving?:) Are there any tips for this situation? Maybe any tips for multiple camera set-up? Thanks a lot for your answers!
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