Pascale Neuschafer

Thank you, David, this is (as always) very helpful advise. When you say "keep the bulbs above the sink", do you mean the existing fixtures in the ceiling?

Hi all,

I'm shooting a low budget short where the meat of the story takes place in a public bathroom during the day (both in two of the stalls, as well as in the bathroom). The bathroom is 4,8m x 3,85m with no where to place any light stands, or bounce lighting off the ceiling, without them being seen in frame and I would prefer to have a 360 lighting set up, as we are limited with time and will shoot both in the direction of the mirror, as well as the window.

I was thinking top lighting with 5 x 4' 4 Kinos on auto-poles, but the ceiling is  not that high at 2,87m, and there are two other gotchas: a window and a mirror placed directly opposite each other. So, I either:

a) Cover the window up with a painting (blocking any and all source of lighting from the window)

b) Use decorative frost on the window and on the top of the mirror (in case the kinos creep into frame), or ND the window out

I would really prefer not to use the down lights with heavy diffusion, and like the fact that Kinos have barn doors and the lighting won't be completely flat and spread out (as would be the case if I used Astera or other tubes).

Any advice from DPs/gaffers who've shot in similar circumstances would be much appreciated ?

Thank you.

@miguelang

On 2/25/2020 at 12:12 PM, Miguel Angel said:

I've just finished that short documentary in Sierra Leone with the FX9.. and I'm truly amazed.  

We kitted it out with a Teradek, WCU4 and a 5.6" minimonitor for me (instead of the one that the camera has) and it has all gone really really well.  

We shot almost in darkness since it was a documentary about the lack of electricity in hospitals in Sierra Leone at night and how the people there perform difficult surgeries with just the light of a phone.. and shooting at 4000ASA / 8000ASA has been absolutely eye opening. 

There were moments where I couldn't see anything but the camera picked the light from the phone super well. Definitely a great companion for a Sony Venice as a B cam or even to shoot commercials or features if there is no money for a Venice / Alexa.

@Robin R Probyn we tested anamorphic lenses as well and it is not that difficult to make it work as of now ? 

I'm looking forward to working with it again. 

These images look really clean in terms of noise. Did you shoot S-log3, or did you choose one of the Custom modes?

Hi all, thanks for your replies. I think Rickshaw is probably the way to go!

Hi,

I will soon be shooting a handheld chase scene at night on the RED Epic. One of the shots involves tracking backward, while staying relatively close on the actor's face as he runs forward (35mm, possibly even 50mm lens).

The scene happens on a street and I have a flatbed dolly with pneumatic wheels available, so this could be used as a platform to stand on while shooting handheld. But, I am worried about balance on a moving dolly, over relatively uneven terrain and no tracks. The dolly does have a bazooka riser and base, but if I lock the camera into the bowl, will it still look handheld, or just like a bumpy track?