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Lee Burnett

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    FS7, 5D III

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  1. Other option I'm considering is 500T, overexposed and pulled 2 stops in lab. I really like the creaminess of the image and colours. BUT, I've not done this before so it makes me nervous. Any thoughts?
  2. Giray, understand that 16mm is grainy. I've shot on it many times. But, there are multiple levels of grain between different stocks, and they can be affected heavily by light levels. Hence my question. Thanks for your response Phil. I think I am going to go with 200T, and light with a 5K fixture through a 6x6 on an inline dimmer, and dim it down ever so slightly, so as to keep a slight warmth. Then I can use 2K to fill, and 1k / redhead for some rim lights. Good to know about underexposing daylight stocks blue layer. Will keep that in mind for future.
  3. Hi everyone. I'm just about to shoot a studio fashion shoot, mostly on 16mm, and I'm toying with various film-stocks and can't make a decision (I haven't shot 16mm inside before) Firstly, most shots will be relatively close, waist-up, some full-body, so lighting can be relatively close to the talent. I was considering 50D, mainly for its beautiful contrast and colour rendition. It's by far my favourite stock. But I'm worried about getting enough light in there to get a good, contrasty image. Budget is pretty tight, so was going to light with tungsten to give me more to pla
  4. So this week I am going to make my first DIY flexi LED panel. Going to get the YUJI BC series LED's. Will mix 2700K with 6500K, with a cross dimmer. I am shooting a short film on Saturday, in a relatively tight location, and the director wants relatively free camera and actor movement at times. I am thinking this will be good to quickly tape the panel overhead / on a wall, with lots of diff, for some side/overhead tungsten, but not have any stands in the way (we don't have a gaffer either, so I will feel more comfortable with this. How do people use flexi LED panels, or just the L
  5. OK, height space is an issue. I think what I might do is to light from the side (camera right) with a 2k running through a dimmer, through a sheet of 251. This will give the faces almost split lighting, with the opposite wall as soft fill... can duvetyne the opposite wall if too much fill. Then I can flag this source from the backdrop, and maybe the ceiling, (although space is tight, but think I can flag most of it) Then I can redhead through 251 (maybe doubled) from a distance for the props, coming almost from the camera. That way I can control exposure for the props carefully, withou
  6. Thanks again. Good tips. How would you go about getting a more graphic look? I don't want harsh shadows on faces, but the faces are the only place I can get some depth and shadow, so also don't want it completely soft... shall I just tone down the fill light as much as possible?
  7. Here is a rough layout drawn on the shot designer app. Very useful app. So the top line is the colorama... it is 9 feet wide. The light behind is a 2k blondie, we have 7-8 feet of distance behind the colorama. It is a beige coloured colorama. The 2 people will vary, one or two shots are 3 people. mostly 1 person The line below the 2 people is a line for placing the paper props. They will be cut out of card and fit into a rail system. They will always be dead flat with the camera. Then I have 2 redheads bouncing off the ceiling to camera right. This will hopefully give a sof
  8. Thanks Satsuki, arfter doing another recce and camera tests in the space, I reckon we will use a 2k Blondie from behind, flooding the paper. We have about 7-9 feet behind the colorama, do you reckon this would be enough space behind to get a decent flood on the backdrop? We will be showing roughly 8feet width of the colorama on the widest shot, any idea how to work out the rough flood of a 2k from about 8 feet distance? It doesn't really matter if we get some gradient. The other option would be to bounce the blondie off the back wall of the room. Also, would you just ND the light in o
  9. Hmm, that's good advice. I was mainly thinking soft ambient bounce light because there will be multiple props with different coloured cards and illustrated details. Therefore they need some emphasis and don't want them lost in silhouette. That being said, I think we have some freedom to mess with it, the storyboard follows a sequence, but it's rough, and thinking it through now we can cut from silhouettes, to bright fill, to contrast. How would you go about lighting the backdrop with one 2K? I don't really want a big hotspot, or strong sidelight. If I had 2 x 2k's then I'd diffuse them bot
  10. Now considering bouncing the 2K off a muslin on the ceiling, although it's not a very high ceiling. This should get me good soft ambient and soft shadows. Just not sure if I can get a redhead behind for some sort of backlight, just not sure whether this would need some diffusion or bounce. The space is quite tight.
  11. To start with I'm just starting out with lighting stuff. I've had experience lighting a lot of interviews, but I'm a complete newbie except for book theory and watching lots and lots of stuff. I'm shooting my first music video. It's very low budget, shooting on FS7. It will be a small set with paper backdrop and paper / card props with people interacting / playing instruments in the set. We have an illustrator who is building all of the paper props to be used. The set is built so that the scene will be changed by people moving the props by hand, into and out of the scene. These people
  12. And if you work on shoots like that all the time, amazing. I'm not saying they don't exist. It just seems sort of crap that people who get work like that all the time can't see the struggle that lots of production companies go through not getting budget to get the things that are usually standard on bigger shoots. And then kind of shun them as if it's not professional?
  13. I am finding it funny how this thread has progressed. I mean, I do see c-stands all of the time, especially with kinos, but I guess the argument people are making isn't really about c-stands at all. It's about the fact that there are many many professional, paid shoots in the UK, where the budget is butt-tight, and money going towards extras such as c-stands and excess lighting will come out of people's day-rates. That means that a lot of shoots just 'make do'. I've only worked on a couple of shoots that had a g&e crew, let alone a truck. These are professional shoots. I make my l
  14. Seems like a fair price. and I can just attach a normal 40inch gobo arm to that?
  15. Is that a basic light stand i.e. a lightweight combo stand?
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