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Mathew Collins

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  1. Thank you all. That clears lot of questions. I was confused about key + fill : fill which is given in many books. Now I could go with Key: Fill . -Mathew Collins
  2. Hi, 

    I was reading your post in,

    Could you send the spreadsheet mentioned in the post to



    Mathew Collins.


  3. My understanding was Contrast/ Lighting Ratio is, key + fill : fill. Some of the books gives the ratio as , Ex: Set Lighting Technician's Handbook, Fourth Edition Film Lighting Equipment by Harry C. Box-page 112 key + fill : fill -Mathew Collins.
  4. Hi, A question about lighting ratio, Key+Fill : Fill, Key is 100 FC, Fill is 100, then lighting ratio is 2:1 Key is 200 FC, Fill is 100 FC then lighting ratio is 3:1 Key is 400 FC, Fill is 100 FC then lighting ratio is 5:1 Key is 800 FC, Fill is 100 FC then lighting ratio is 9:1 Key is 1600 FC, Fill is 100 FC then lighting ratio is 17:1 Something wrong with my calculation? Is it possible to arrive at 4:1, 6:1, 7:1, 8:1 ratios? Thanks, Mathew Collins.
  5. Thank you David, Macks and Brian, I was trying to find out the meaning. While watching films, characters/vehicles enter into the frame through, -right side-lower part -left side-lower part -lower side -upper side
  6. Hi, I have seen vehicles/characters entry into the shot from the Left/ Right/ Lower/ Upper side of the frame. Any specific meaning/metaphor for the sides of frame? -Mathew Collins.
  7. The Dress maker is comedy, Drama movie. In the second set of pictures, When Judy Davis's character appear to from lower bottom of the frame(1st picture), the other ladies looks into the lens or just to the side of the lens. These pictures are from another scene. Kate Winslet's character opens the door. Lady characters look onto the lens or just to the side of the lens. Donald McAlpine used 'look onto the lens or off to the side of the lens' technique in other scenes as well.
  8. David, While watching 'Silence of the Lambs', my understanding was Jodie Foster and Anthony Hopkins are looking into the lens. Hi Brian, OK. very tight eye line is possible if an actor play to a piece of camera tape on the matte box. But I had a misunderstanding that if the character is directly talking to another character, the second character has to stand close to the side of the mattebox and that is maximum 'tight eyeline' is possible. As you said, if actor play to a piece of camera tape(sicked inside matte box close to the lens) very tight eye line is possible, than the actor stand close to the matte box.
  9. David, Could you explain "very tight eyeline"? Does that mean the use of 'short focal length lens so camera is very close to actors' or long focal length lens where camera is away from actors( and hard to tell that they are looking into the lens or to the side of the lens or away from the lens)? -Collins.
  10. In this shot, the 1st and 3rd actors are looking at almost same direction, 2nd actor looks at another direction, 4th actor looks at a different direction. The previous shot is,
  11. This is capture from "The Dressmaker" movie shot by Donald McAlpine. Good movie. Is any of the characters are directly looking into lens? What would be the purpose of directly looking into the lens other that subjective camera angle? -Collins
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