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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 fram
  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
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