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Mathew Collins

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  1. Mathew Collins
    Does anything happens to the characteristics of light rays when it is passing thru diffusion frame?
  2. Mathew Collins
    David, No. But I am adding your question as well. My original question was If one 'shoots one gray scale at the head of the roll, in "white" frontal lighting' and 'sign with a note explaining the look of the scene if necessary like "COLOR: GOLDEN LATE-AFTERNOON" or "COLOR: BLUE MOONLIGHT", etc.' Would the colorist not perform any changes in the roll?
  3. Mathew Collins
    David, > The softness is determined by the size of the source relative to distance Could you explain 'size of the source relative to distance'? >a book light only makes it softer if it helps fill the diffusion frame more evenly from corner to corner but once you do that, Would it be possible fill the diffusion frame more evenly from corner to corner, so that a light meter provide the same reading throughout the frame?
  4. Mathew Collins
    Will, Your first experiment-book lighting shows that it is useful when not possible to increase the distance between light-source and diffusion frame. But in the second experiment you are using 2 layer diffusion in front of the light-source. Can we compare these 2 experiments? Would it provide the same results?
  5. Mathew Collins
    >You can shoot one gray scale at the head of the roll, in "white" frontal lighting (white for the color balance of the stock) with no glare on the card, perhaps with a face as well holding the card, and exposed at the rating you are giving the film. After the card, you can shoot a sign with a note explaining the look of the scene if necessary like "COLOR: GOLDEN LATE-AFTERNOON" or "COLOR: BLUE MOONLIGHT", etc. just as an extra explanation. David, A small question, In this situation would the colorist leave the roll as it is?
  6. Mathew Collins
    Thank you David, Adrian, Alexandre and John
  7. Mathew Collins
    >If you put a grey card next to a paler face and spot-metered the grey card and exposed for that reading, then the paler face would render as being paler. In a scene where light falls with different light intensities, where would i place the grey card to measure the exposure? I understand that exposure reading grey card falls in zone V.
  8. Mathew Collins
    Thank you David.
  9. Mathew Collins
    >Skin tone will have no bearing on your exposure if you are measuring from a grey card, just as incident meter readings are independent of the actual subject. Would a 'white colored' skin looks grey if i expose as said earlier?
  10. Mathew Collins
    David, >same kelvin correction / MIRED values for each strength. Could you explain 'values for each strength'?
  11. Mathew Collins
    Thank you David.
  12. Mathew Collins
    David, Suppose I put 18% grey card in the a place (where i wanted to place my subject) and measure the light. Say, i got an exposure f/5.6. If i expose the face of my subject for 5.6 would it be a correct exposure or under exposure? Would it also depend on the skin tone of the subject?
  13. Mathew Collins
    David, What is the difference between pale CTO, pale CTO and CTS?
  14. Mathew Collins
    Thank you David and Bill.
  15. Mathew Collins
    Thank you David. So for both season(summer and winter) it is easy to perform a cheat by imagining a southern arc to the sun. 'Imagining a southern arc to the sun', Does this mean the kitchen is located in North-South direction with no windows towards east/ west but windows towards south-west direction?
  16. Mathew Collins
    David, > If the room has a corner with windows at a right angle to the main windows, then you could imagine a southern arc to the sun where it comes in from one angle and later from the opposite angle. Could you explain 'southern arc' and 'sun where it comes in from one angle and later from the opposite angle'?
  17. Mathew Collins
    Bill, >and ask for a one-light work print when I send it to the lab because if I have it fully timed (same as "best light,") the timer is adjusting the printer lights for each scene rather than setting them once and going by the index mark (color-chart) that I set at the head of the roll. Unless my ASA rating was completely off for a given roll, a one-light print is usually enough of a gauge to see what you got. Plus, sometimes you want to see things uncorrected before you start making corrections. Could you explain, 'ask for a one-light work print' 'going by the index mark' 'Unless my ASA rating was completely off for a given roll'
  18. Mathew Collins
    Thank you David.
  19. Mathew Collins
    Thank you David. Now I got it.
  20. Mathew Collins
    Thank you Adrian.
  21. Mathew Collins
    Daniel, I have gone thru that link, but able to find answer for my question. 'Is full CTO and full 85 correction different or same?'
  22. Mathew Collins
    David, What is the filter number for Full CTO? Is Sun85 filter and 85B filter produces same results? Both are from different manufactures ?
  23. Mathew Collins
    David, >You could use daylight film but that would be like putting full CTO on all your lights or a full 85 correction on the lens, it's quite orange, and once you try to color-correct some of that out, you'll find that there is hardly any exposure in the blue layer, which may create some desaturation once corrected, like working from a sepia-toned image. Is full CTO and full 85 correction different or same?
  24. Mathew Collins
    David, >The main question is what is the emotional content of the scene? Is it frightening? Sad? Romantic? Each one would be lit sightly different, changes in the contrasts and whether you're adding kicks or backlight. Do you want the rest of the room to fall off into an unknown black oblivion or be a safe haven for the characters? Yes. I want the rest of the room to fall off into an unknown black oblivion or be a safe haven for the characters. This because the characters in the movie just escaped from police. I am attaching my plan as a diagram.
  25. Mathew Collins
    Bill, The background of the story is 3 characters are suspected as a part extremist group but in actual they are not. While coming back to their village after watching a movie, police try to chase them and protagonists finally reach an abandoned house. There the short film starts from there. How they ended up there would be revealed in the story by dialogues. The building have 2 windows. I am thoughtful about the patch created on the floor by the moonlight. The protagonists would sit in that patch, make a campfire discuss things. So the light sources I could think about in that situation are 1. moonlight cumming thru windows and 2. fire Apart from that I think I need some to provide a visibility of the room. As the story is in progress, the protagonists would move around the room.
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