Marc Gallifa

That could be great if you could send it to me, I pretty much understand French so it won't be an issue. I plan to change the lighting during the shot while the camera keeps locked in the same position.

Hey, For an upcoming TVC I'm directing shot in an studio, we need to go from the studio being well-lit to a dark/moody atmosphere into the same wide shot. I'm looking out for original references or techniques to do so. I can't find any idea similar to it at the moment. Do you remember any reference on commercials or movies similar to what I've described? Marc

Hey guys, The other day I was watching an interview to Dan Mindel and he was talking about a concept called "Antagonizing the lens". If I am not wrong he's talking about taking light off the front of the lens. This is a part of the interview I'm talking about: However, it's the first time hearing about this concept so if anybody can give me a more in-depth explanation would be very helpful. Cheers Marc

Hi, I’m new here and want to give you regards from Barcelona (Spain). I’m DOPing a short film in two weeks, it’s a Se7en-esque thriller based on the II World War. I’m shooting with a Red Epic and Zeiss lens. It’s located mostly in interiors. It’s an old and abandoned hotel with really dark rooms. I’ve some questions about lighting a tiny bedroom. My main aim here is having a strong source outside through a window to give as main freedom as possible to the actors and having more camera framing possibilities. The light has to recreate natural light but I don’t want the beam to be so strong, I just need to give more ambient light inside. The problem goes here: My strongest sources are 2 Tungsten 2K Fresnell (It’s a 3rd floor so I can only light from another window which is in front the set) and it’s not too much. Inside I will extend the light with some kinos (recreating natural light as well). So the T2 Fresnell will give me 3200ºK but I want a more blueish mood (close to natural light). To achieve that I will have to gel it with FULL CTB this will take me off 64% of light from outside which is a massive loss. In conclusion, do you guys think is it better to gel the outside sources (which are meant to be strong) and getting less light inside but closer to the light temperature that I want? Or will you match the inside light temperature from kinos to 3200ºK (light temperature from Fresnells) and change the colour temperature then in postproduction? I would appreciate your opinions about it. PS: I know it would be easier with HMI outside as a strong source but for budget reasons I’m unable to get one so I have to survive with the T2. Marc