Sergey Block

Thanks! Do you mean flicker shooting with HMIs? Will Flicker-Free mode on a ballast solve this problem?

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!

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)?

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 fram

Thanks a lot for all your answers!

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?

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!

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