Gabriel Wilson

Looking for a solution - need a rotating lighting rig to simulate the movement of light on a stationary vehicle. Trying to simulate a train passing through darkness and shade. Any suggestion other than having someone Hollywood the unit or flag.

Shooting in an antique railcar and am looking to tape or velcro a practical light to the wall. Ideally, its would be battery operated that does not have wires protruding, although I could hide them. the windows of the car will be green screened and I am keying with a 1.8 HMI. Check out this shot from Darjeeling Limited as an example of what I'm looking for. Mine of course need to be removable/smaller and not built into the set!

The train in outside at a railroad museum in CT so I should be able to avoid spill, Check out the photo below. I won't have access to the plates as they are being shot later on. Photo http://tinypic.com/view.php?pic=nd8ocx&s=9#.WUKC9xMrLOQ

Just wanted to move the conversation back to lighting? Any suggestions if the windows are going to be green screen. Assuming I can light through the windows, any suggestions

I have recently accepted a project that takes place entirely in an antique rail car. Because the train is located at a transportation museum it does not have the ability to move. Another challenge is the film is set in Morocco. The initial plan is to use green screen to key in the exterior. My bigger concern at the moment is how to make the train look like it is moving without any hydraulics or mechanical mechanisms. I would appreciate any tips or experiences others have had shooting stationary vehicles with green screen and getting a realistic cinematic result. Both camera and lighting tips much appreciated

also, do i just set my light meter to the native 3200 ISO for slog3?

Don't usually use the FS5 but have it for free for a few days so can't upgrade. I can't seem to find any LUT settings. According to Sony.... When shooting with S-Log2/3 and RAW, your brightness levels are very different to when shooting with standard gammas. It’s important that you know those levels. Sony gives the following as the base exposure levels for S-Log2/3: S-Log2 is exposed with middle grey at 32% and white at 59% (skintones 45-50%). S-Log3 is exposed with middle grey at 41% and white at 61%. (skintone 47-52%). However, when shooting with almost any log camera it’s desirable to shoot a little brighter than the base exposure levels. Shooting log brighter by between 1 and 2 stops is normal practice in movie and TV commercial production and the FS5 is no different. Unlike standard gamma, which do not work well when over exposed, log gammas actually work best when exposed brightly. You are better off being over exposed rather than underexposed. From experience, I have found that I get the best results in most situations by shooting between 1 and 1.5 stops brighter than the base levels. So I recommend that you use the following exposure levels for both S-Log2 and S-Log3: Middle Grey: 48-52% Skin Tone: 56 – 62% White: 68 – 72% A simple way to get these brightness levels is to set the cameras zebras to 70% and then to expose a white piece of paper so that zebras are just starting to appear on the paper. With the latest firmware you can also set zebras to 58% and expose skin tones with a little bit of the zebra pattern across them or if you have a good quality grey card set the zebras to 50%. Another simple way to expose 1.5 stops (1.5EV) brighter than the base exposure is to make use of an exposure offset and auto exposure. You can do this by turning on auto exposure and going to the camera menu and using the AE Shift function to add an offset of between +1 and +1.5 EV (I suggest setting all controls to manual and just using the auto iris or auto ND function). Now the camera will expose 1.5 stops brighter than the base settings whenever auto exposure is used. I normally set the camera up for manual exposure and then use the “push auto” iris control button to momentarily set the exposure automatically. This is quick and easy to do and very handy when shooting on the go.

Looking for some exposure help when shooting moody scenes with the FS5 - I have seen a lot of people recommending setting the zebra to 70 percent ( which makes things pretty bright on the monitor for a darker scene/ is this something people only do in LOG? ) are there any other usable on camera exposure tool other than zebra?. Don't use Sony's much and am more used to Using a REC 709 LUT or false colors within my ALEXA eyepiece to expose. Also, should I be switching from LOG3 to cine gamma for lower light situations? Also any general tips for exposing low light scenes without crushing the blacks?

Should I still be desaturating the Image? I am getting an RGB color cast. The director is asking me to take it out. Not sure if this is normal or a mistake in the processing?

Digital in Resolve.

Struggling to find any information online about grading a 16mm black and white transfer. I have done grading work but would love some tips on grading 16mm transfer specifically black and white. Any resources would be appreciated.

Thanks for all the suggestions. We just wrapped last night. We were using the sky panel in the room, but ended up using it mostly as fill as opposed to augmenting the key window light. We rigged 4 bank kinos above the window instead. (the director asked to have no stands on the ground near the window so we created a grid with autopoles, the skypanel was too heavy). In the end the surrounding buildings blocked out most of the direct sunlight ( it was also a cloudy weekend in New York. The window was a stop or two over exposed but still visible. As someone else suggested for the night scenes I keyed off on practicals. Spent a lot of time changing out LED bulbs in the hotel for old fashioned 60 Watt incandecenet's on dimmers. Will send some stills.

I think a lot of the light will be blocked out by the building facing us as we are in midtown and will not be getting much direct sunlight according to the sun path calculator. My main concern is not having the unit on the window side look too sourcey while still having a fairly low key look. I went to location to pre-light today and now have the Kinos as the Key window side and the Skypanel Filling. at 5600 plus green 1. I am also getting a bit of a green tint on the white walls. Any thoughts there?

Thanks Miguel. We are stuck facing south! but i think the tall buildings should help block the rapid change!

I am prepping a scene for a narrative short this coming weekend ( Shooting Alexa Mini - Cooke S4's) . We are shooting in a rather small hotel room in New York City with a large South facing window. I have One Arri Skypanel and 2 4 foot 4 bank Kinos As well as Arri fresnel units. 750,650,300,2x250. I was thinking of using the Sky Panel as the Key from the window side and possibly using the other units to fill. Depending on the brightness of the day I may need to ND the windows as the director wants to see outside. I wanted to see if anyone else has any thoughts on shooting high up without out rigging any exterior units. The film is quite low key and contrasty.