Killian Lassabliere

Yes that's true ! I should of mentionned that the pretext of this shoot is to try out 16mm film, I'm paying for it myself so no clients are involved.

Thanks for the answers, I will do some tests when picking up the lens, ( hopefully I'll be able to spot any aberrations thought the unsqueezed viewfinder ) Thanks !

Hello, Next week I will be shooting for the first time on 16mm. I'll be renting a Bolex EBM Super 16 ( PL mount ) as well as a Hawk V-Lite 16 Anamorphic 1.33. ( only one focal length for budget reasons ). I've been looking all around the internet and I can't seem to find any information on that specific combo. So I was wondering if any of you ever used a similar setup? I'm mainly concern about focusing on the fly without a monitor desqueeze ? We'll be filming at two locations, one indoor ( natural light coming thought sheers ), and a rooftop at dawn/dusk. I'm thinking about getting some Kodak Vision 3 250D. I read that it is recommended to overexposed quit a bit, ( which is the opposite of what I've been doing on digital ). Would you guys have any advice on how to expose in those lighting conditions? Thanks a lot for your help,

Thanks Albion, From all those answers I'm starting to understand what I can get out of the M90 ! I won't be able to get anything more powerfull so if worst come to worst we'll keep the frame as tight as possible.

Thanks guys, We'll have a few "wide" shots ( area of about 10 meter by 10 meter ) so I think I'll stick with an m90. Hopefully the sun we'll be out and we won't have to get it out of the truck.

Thanks a lot for your answer Micheal ! Neg will definitely be on the list ! At first I actually though about only using those if I had to deal with an overcast day ( and I might still ). But since we should have the budget for HMI's I was wondering how/if I could achieve that harsh sun look regardless of the weather.

Hi guys, In a couple of weeks I'll be shooting a music video with a decent budget, so for the first time I'll have access to bigger fixtures than what I'm use to. We've got a variety of scenes to cover, all taking place in a small private garden that has a barbecue and a skate ramp. The artist we'll only be here for 4 hours so we'll have to move really fast. We are going for an harsh sunlight/summer look. Hopefully the sun will be with us, but I would like to be ready for an overcast situation. My plan was to park an m40 or m90 right outside the garden, add a 1/2 CTO on it, bounce it in a mirror, and adjust the angle of the mirror depending on the shot. I haven’t worked with big fixture so far so I would love to see how you guys would go about it? What would be the minimum output to compete against an overcast day ? And from your experience : would that work on a tight schedule ? Here is a picture of the look we are going for : Any advice on how to achieve that look on a tight schedule would be more than welcome ! Many thanks ! PS : We haven't done the location scout yet but if you want I'll be able to post some pictures once it's done.

There's gonna be a lot of different shots ( to much to detail unfortunately ) but we'll never have more than one actor in front of the camera, so the shots will stay tight. I'll only have one grip. I will run a test to see how powerfull the litemats needs to be. Otherwise I'll go with the beadboard / 1/2 soft frost. Thanks a lot for the advices !

Hi guys, I'm a young cinematographer and I recently moved to Paris to hopefully break into the commercial world. I've been contacted to do DP a really small budget "beauty commercial" for a lipstick brand. Half of the spot will take place indoor with some classic shots ( product shot, model putting on the lipstick, etc ). I have access to some kinoflows, few tungsten units and a dedo lights. So the indoor part isn't a problem. The other half of the spot will take place in the streets surrounding the Eiffel Tower, and that's where the problems begin. In total we got to film 7 small sequences in different locations (approximately 2 shots each). We established during the location scout what time we should be in each location in order to have the sun in the good direction. Since the budget is extremely tight we won't have access to any generator. My plan was to play with some bounces and keep the focal length as tight as possible ( 50mm and up ). Now the weather forecast isn't good and there are high chances that we'll have an overcast day (if not rainy ). So far I've been thinking of playing with some floppy instead, but since we're trying to go for a beauty high key look I'm worried that it would look to moody. So that is why I'm turning to you guys to know how you would handle it ? Would some small LED fixtures make any difference ? Thanks in advance, ps : we'll be using the Ursa Mini 4.6k at 800iso + Zeiss ZE Distagon f1.4

Thank you so much for the answers ! I was thinking about the roundfront ones. At first I thought about the Kowas but after watching a few test/review they seemed to get really soft wide open. And then I saw that article of the wandering dp where he's using the Lomos on a Ronin / run and gun setup. http://wanderingdp.com/podcast/wandering-dp-podcast-episode-100-road/ I think the best would be to compare them at the rental place.

Hi guys, In a few weeks I’ll be shooting a skate video that’s taking place in the street of Paris at night. We can have access to “better” gear than what I’m currently used to as the project is backed by a production company; which is why I would love some advice. It’s going to be a one night run and gun type shoot, we’ll be using a gimbal for most of it. We’ll have to rely on the available streetlight (paris christmas lights). We’ll be using anamorphic lenses to really get the most out of those Christmas street lights. So with all these parameters I need come up with a relatively “light weight” setup that can still perform well in low light. So far I’m thinking of a combo : ARRI MINI / LOMO ANAMORPHIC / MOVI M10 ( + wireless follow focus ). Anyone out there that has shot on a similar “run and gun” setup who would be happy to share their knowledge ? Considering that this would be my first time with an Arri camera is there anything that I should look out for ? And finally would you guys recommend any other camera / setup ? ( as a B-choice ) In the meantime I’m doing research online but nothing beats real experience ! Thanks in advance,

The Parcan are actually really cheap to rent ( not the 1.2k but the par64 1000w ). Would 2 of those be "better" than the blonde + tungsten ? Or maybe combined them all though a diffusion frame ( Par + blonde ) ? The scenes got a lot of dialogue with wide / medium / closeup. I would prefer to use artificial light but if it's really not enough power I might go that way. Would the light shift not be to obvious ?

Thanks a lot for your answers ! Very helpful. I will then use all the tungsten heads though a diffusion frame. Really good idea, in that case should I set the kino to 3200k and gel it with a 1/2 CTB to ?

Hi everyone, I’ll be soon filming a short where main part of the scenes take place indoors at daytime ( in appartement and in a coffeeshop ). The director asked for a "colourful daylight look", reference below I unfortunately don’t have access to any powerful HMI… so far, here is what I’ve got access to : Blonde 2K, Kino Flow 120 ( 3200k or 5500k ), 2 redhead 400w, 1 redhead 800w, lite panel 300w and fresnel 300w. My plan is to simply bounce the 2k blonde from outside the window (with some CTB) and fill with the kinoflow. Now my question is will I have enough power with the 2k? Especially since I will have to gel it in order to match the ambient daylight. If not, do you guys see any way to get that type of look with my gear limitations? I don’t have any pictures of the locations (last minute job) but they are really similar to the references. The coffeshop is quite small and won’t have direct sunlight (small Parisian street). The apartment has a big bay window and a balcony, it shouldn’t get any direct sunlight to since the weather is going to be rainy / really cloudy. Regards, PS : I’ll be using an A7s at 3200ISO T2.0.

Thanks Mihnea, For the kitchen setup I sticked to the original lighting diagram, except that I replaced the HMI by a 1000w Softbox bounced of the ceiling. ( I also added a honeycomb grid to the softbox above the table to control the spill ). For the lounge I had 1 softbox ( +extra diffusion ) as key light, with an assistant waving is hand to emulate the TV flickering. I also dimmed the other softbox to 500w and bounced it of the ceilling in the background ( kitchen ).