Mihnea Snooker

Results are great. Just enough fill not to look like a family/comedy movie. What lighting setup did you use in the end?

Thats what I wanted! Thanks a lot!

I'm really sorry I'm wasting you time with this question but I had today some disscutions with a teacher about the name of a shot size. If I have a bottle or a can (not a human being) that fills the whole frame, how is this called? Closeup or Full Shot? Thanks!

If you buy the spot one, you can always use a diffusion in front of it to spread the light...but from the other one, you can never get more light even in a smaller beam angle.

Thank you very much for your time!

Thanks for answers, but Im not talking about 5d or any other camera (anyway, Id never use a hacked camera for a paid job). There are a lot of cameras out there for rent. But the true rec709 has 5-6 stops of dr. Is there any simmilar standard for HDR? (Eg. 12 stops-so you need a 12+ camera for a good result)

Thank you very much for answers! So, what I already shoot on a Red (not in HDRx mode), is going to be good enough for a HDR grading in future? I suppose some old footage from a 5d (probably 9-10 stops) will not be use for a HDR delivery, isnt?

How many DR stops are enough for a HDR delivery format? For rec709, you can use even a 7stops dr camera and its fine, but Im very confused about HDR standards...1000nits, 10000nits, Dolby PQ, BBC. 10stops? 15stops? A camera like C300 with 12stops will be still usable? Lets say, I want to buy a HDR display (the new atomos, or any other)...if the imagine looks good on a 1000nits display, is gonna look good on a 3000nits display? Am I totally wrong? This new HDR scares me a lot! There is very few information about this new standard out there and if anyone could explain, I think is gonna be very useful for many of us. Thank you!

Full spot for that fresnel fixture is not the same beam angle (and diameter) as full spot on open face, so to fill the same surface with a fresnel as with an open face you'll have to increase the angle on T2, and so you will get less light.

You have to check the beam angle. At 2K, set at spot, the fresnel has more output than openface but it doesnt fill the same surface of diffusion. And if you change the beam angle to get the same beam diameter as the open face unit, you will get less output.

I think at 1:32. With chrome it goes directly at this point

It's just a speculation but could be some small daylight unit through roof...big light loss from that gap to the blanket on the bed (left corner). Soft warm as key on her face, maybe a chimera and also a small daylight unit to the right of the frame to get some blueish highlights (and the shadow from the headset) on her arm and her cheek. Looking forward for other opinion.

I used mostly at 3200k, veeery soft source, 2700-6500K range is realy awesome buuut...I don't want to be subjective. You can see here exactly how it looks like: at 3:36

Thanks for answer! If I want to match bmc to arri, that is exactly what I should do, but to match bmc to random consmer camera that doesnt help... There has to be a way to use the color checker as reference to match different cameras but not color correct the footage from one of them.

Let's say I have two shots. One shot with a phone, or a consumer camera, and the other one shot on Red, Arri, etc. Is there any way to automatically match the good one to the bad one, with or without a color checker? I know I can do it by hand and I know I can color correct both using the color checker to match, but I just want to make Red look like iphone (in terms of color and contrast of course) without color correcting iphone footage. Thank you!

5-6 years ago, youtube was full of "shallow depth of field" footage because, every amateur that, until then was shooting on 2/3 sensor, had the opportunity to use a 35mm camera (aka 5D), and what can be cooler than shooting f/1,2 to get "cinematic look" ? Now, all those guys are using LOG profile (and slowmo) because every crap video looks "cinematic" and everyone likes it. So will be the "miracle" luts, the grain simulators, and other *@(#. None of this tons of footage worth to get attention.

What was your final lighting in church? Looks reaaaly great! Even if it was redgamma, it looks so good i couldn't resist trying some color grades http://imgur.com/j6a5zDj

Where is gonna be the camera? What focal lenght? Sunrise, sunset, night? 2k led?(is there any 2k led on the market???) or 200w led that looks like a 2k tunsten? Because a a 2k could be enough for a fill, bounced of...whatever, but cant be enough for a key light.

Even a 2ft kino through a 6x6 216 would be enough for a keylight if you don't want to shoot 5.6 or more, if you are so close to the subject. I did the same thing shooting f/2 at 800iso.

Lets say you shot 4K 8bit. And you have 2 pixels next to each other. One is 135grey and the next one is 136 grey. When you scale down, the software will average between those numbers - 135,5. Of course this doesnt exist, so in 10bit will be 7xx. But you have more shades of grey than the original footage.

So you will probably need a 1000hz ballast

Thanks a lot! I uploaded here

Sorry, now should work: http://img.blu-raydefinition.com/wordpress/wp-content/uploads/2013/02/Skyfall-BD_08.jpg http://img.blu-raydefinition.com/wordpress/wp-content/uploads/2013/02/Skyfall-BD_05.jpg

I've seen in Skyfall two "kinds" of warm light used in different scenes. Some of them look like just regular 3200 source, but other look gold. Do you know if it was used a filter in front of the source (gold tint with tungsten or cts with hmi or any other way) or if it's some post-production work. Judging by the natural looking practicals, I'd say he used filters but I'd like to hear other thoughts. Those are some examples: http://img.blu-raydefinition.com/wordpress/wp-content/uploads/2013/02/Skyfall-BD_05.jpg?1902c1 http://img.blu-raydefinition.com/wordpress/wp-content/uploads/2013/02/Skyfall-BD_08.jpg?1902c1

I'm not a fan of David Fincher look as I think his motivation for using those colors is..."not strong enough" but I'd like to know how does he get that look. And I'm taking about that green look of tungsten, but in combinaton with pure blue of daylight or the normal color tungsten in the same frame (i attached some examples where could be seen green tungsten and normal daylight, or green tungsten and normal tungsten). It could be done sometimes very easy with secondary cc, or simply using plus green or light with green spike, but I found thousands of answer for every scene but i'd like to know if anyone knows what is his way of doing this. Thanks!