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Sandy Tworkowski

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Everything posted by Sandy Tworkowski

  1. Sandy Tworkowski
    Thank you David. Exactly the info i'm always looking for. Thank you very much. I've had very little chance to use ERS. I like their ability to project a sharp image or sharply delineated light.
  2. Sandy Tworkowski
    Funny is right. Funny that you should mention that. I had done a lot of work at the EUE studios in NYC and that's what was used continuously. Nothing that huge, but an excellent material for that purpose.
  3. Sandy Tworkowski
    Robin, those are remarkable photos. I agree w/ what David had said. I would only add that you need to look up your color temps for sun and sky. I used to work in TV at 3200K, nominally, but would use booster gels on soft lights for sky. The real color temps are much higher, as you know. Also, do not forget to use bounce light from cards on the floor in certain cases. Reflected light is a magical tool that can add a great degree of reality to your work. There are many instances that require a predominance of light coming from below. You will see this if you keep it in mind. As you develop your eye, you will be saddled w/ seeing many things in the world that the layman does not see. You will never lose that ability. Good luck.
  4. Sandy Tworkowski
    Curious to know if Matt Rozier wouldn't be better off using LEDs if he doesn't want to over drive a Jem Ball or what ever he ends up using. I kinda thought the trend was to get away from high wattage.
  5. Sandy Tworkowski
    Thanks dad.
  6. Sandy Tworkowski
    Call yourself what ever you want. In my book, you're involving yourself in a conversation that's been settled and is not your business.
  7. Sandy Tworkowski
    I'm with you brother.
  8. Sandy Tworkowski
    And what business is it of yours what i say on this blog? And why is a camera operator calling himself a DP?
  9. Sandy Tworkowski
    No...I apologize for getting nuts. I respect your knowledge and will try to keep my ears open and my mouth shut from now on. Thank your for your response.
  10. Sandy Tworkowski
    Glad to hear from a sane person. I like your version of reality. I did Chroma-Key when it was a pretty wild animal; ie. Magenta backlights, blue screens, green screens, directors putting the talent right up near the screens. You name it, we had no magic boxes to fix our problems. Yet we prevailed. The whole thing requires thinking on your feet. Thanks for your input.
  11. Sandy Tworkowski
    Oooh. Someones got his panties in a bunch. The category is "Lighting", not "Digital Gizmos". NO CLEAR LIGHTING SOLOUTION. GOT IT?
  12. Sandy Tworkowski
    What, in particular, seems to be the question here? The lighting crew obviously is in control of half light, as any crew would be. Instead of banging everything with a hard key, the choice was made to make the scene look like ambient light as would be reflected from the fourth wall or from a very broad source like windows. It is a realistic style as opposed to a hot Hollywood look. Very nice, but not the only way to go. Please let me hear what you have in mind.
  13. Sandy Tworkowski
    Great photo. Thanks. Look at the top surface of the desk. The green screen is reflecting very clearly from that surface. It appears to be coming from a point on the screen that is well within the frame. This i a potential problem w/ no clear solution except to kill that reflection. Somebody out there probably has a sneaky way of fixing this. I can't think of one.
  14. Sandy Tworkowski
    I'm reading the responses hear and most of them i agree w/. Some i don't. One problem that i would like to see you avoid is the bounce that's going to come off that screen if it's light to hotly. Really, to ameliorate the situation to a great degree you need to not light any part of the screen that's beyond your frame line and to keep the screen away from the subject. Any color bounce that hits the subject at even an oblique angle will be problematic. If you can use a narrow band light source as someone suggested here, you will have advanced your cause a long way. That should put you close to perfection.
  15. Sandy Tworkowski
    From the angle of that "key", which is so soft, that background is not as close as it appears. She is not casting a shadow and the key is almost head on to her...not the camera, but her face. That background is it's own element, i believe, and is controlled there as. I have a habit of always watching the shadows. I don't think i'm too far off. Lemmy no.
  16. Sandy Tworkowski
    Oh, forgot to ask; what did you end up using for ND on the window? 30, 60, 90, 150.....nothing?
  17. Sandy Tworkowski
    Fantastic. Love to see the stills. Thanks for responding.
  18. Sandy Tworkowski
    I can understand wanting to bring up the background, but not to waste it as a backlight. In the old days, we all used to run around w/ Polaroids. But i remember doing locations shots all over the country just by eye. Not even a light meter. I'd love to see a still shot of this whole thing. It could really work or be a mess. I'd bet one pic would cultivate a thousand intelligent ideas from the readers.
  19. Sandy Tworkowski
    I'm reading that there's a suggestion to use a strong Sky Panel or "key" from the window direction? Could someone explain the logic here? In order to capture the scene and insert it into the gamma, dynamic compression is necessary. Is the logic to use a small backlight to connect the background to the subject? Otherwise i'm lost. Could someone throw me a life ring.
  20. Sandy Tworkowski
    Have you used a plus green before? I'd like to know how it works. I have steered clear of it after some early attempts in the '70s.
  21. Sandy Tworkowski
    Yes, 60 and 90. I'll agree.
  22. Sandy Tworkowski
    Of course the 60 and 30 add up to 90, but can be reduced to 60 if need be. Cloudy day or late shooting to match earlier scenes. If you waltz in there with only 90 and the day goes grey, your screwed. I've also overpowered bright window backgrounds, but it's nasty on the talent. Not a good way to go, but in an emergency might be better than nothing. This is why surveys are important.
  23. Sandy Tworkowski
    Take some ND30 and ND60 for the windows and light the set at 6000K. Look for practical sources to key off of. Good luck. Should be fine w/ your equipment.
  24. Sandy Tworkowski
    Very interesting quest. We could start digging around and we might find a good approximation. I'll bet that it evolved with the faster film and faster lenses. Guys like Vilmos Sigmond and Vittorio Storaro kind of were maybe on the forefront, i think. I think some of this work got a little out of hand, like using a candle w/ three wicks and shooting in existing light. I think it was Nestor Almendros that did that in Days of Heaven. I'm new to this site and i would be interested in following your progress, if you don't mind. I've had some small success w/ multi camera on sound stages, only know what i know. The whole subject is a black art, and i can't find anyone interested in it. Thanks for you kind attention.
  25. Sandy Tworkowski
    I've done some TV lighting. Dramatic work. Worked w/ one or two mic booms all the time. All studio work. That's what i like. Worked on HBO, MTV, worked at EUE/Screen Gems. Also Bill Moyers Journal and various other jobs. Like finding people interested in lighting. It's a vast field and a black art. I have evolved my style, but all jobs are different. I would welcome and discussion here or on FaceBook.
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