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Habib Khan Awan

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Habib Khan Awan last won the day on August 1 2017

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About Habib Khan Awan

  • Rank
    New
  • Birthday 10/30/1987

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  • Occupation
    Cinematographer
  • Location
    New York
  1. I would definitely say that wardrobe will be your greatest ally here. Bright colors will pop out the talent from the green infinity, especially if they wear something that is white/orange/red. I'd also say that if the setting is remote maybe you can back up the camera and shoot your wides on a longer lens to help separate the talent from the scenery. This will also help because the compressed field of view will let you more easily hide lighting, perhaps you could place an ultrabounce or similar rag by tying it between the trees and blasting your HMIs up at it from a low angle to help lift certain areas of the forest? You mentioned you had multiple HMIs, try using one high up with some 216 or doubled up Opal as an edge, or simply light certain areas to cut out talent via the pools of light method. The fact you are in a forrest means there are a ton of natural cucoloris options available to you!
  2. Hmm that's strange. If that's the case then why do manufacturers even bother with supplying you with the 15amp connector if they know it wont hold? I feel like this is just a recipe for disaster. Any possible methods to help keep the cable cool? I don't want to have it melt and fuse to the magic gadget.
  3. Hey everyone, ran into a problem with a piece of studio gear yesterday and wanted to ask some of the more knowledgable members before I started going checking everything out. Client ran a 10 hour shoot on the stage yesterday and everything seemed fine. However after the shoot wrapped the DP told me that he had a problem with the Arri 2K fresnel. Seems he had it plugged into our 2K Magic Gadget Pro Dimmer, and when they went to unplug it one of the electricians noticed that the header cable was extremely hot. Then when they unplugged it they saw scorch marks on one of the Edison connector pins. I took a look at the plug itself and was surprised to see that the plug is a 15amp/125v connector, seeing as I was always taught that 2Ks ran at least ~16/17amps. Is this a normal connector for the unit? The Pro Dimmer states that 2K watts is the peak load, and its female Edison connector is also rated for 15amp/125v, but my math says that this shouldn't work because the fixture is pulling more than 15amps at full power. Granted it was on a dimmer and I have no idea how much they dimmed it down, it could'v been enough to put it just at the 15amp limit, but 15amp shouldn't scorch the pins. Could this be as simple as a dirt/dust in the female plug, or possibly just a loose connection in the wiring of either the dimmer or header cable?
  4. Nice looking shot Rodrigo! Love the CA that's affecting the foliage, gives a real Annihilation vibe to the shot.
  5. The Safdie Brothers' new film "Good Time" was shot 2-Perf Widescreen. http://filmmakermagazine.com/102528-dp-sean-price-williams-on-shooting-2-perf-35mm-for-the-cannes-competition-film-good-time/#.WZ2VcdPyuEI
  6. I've only ever used the Super 16 conversion of this lens from Du-All here in NYC, but I can say it's easily one of my favorite lenses that I've ever used. Excellent weight and form factor, good speed for most applications, and it has the beloved "Cooke Look." Honestly hope to purchase one for my own personal use someday, it's that damn good! Admittedly I have only used it on digital cameras (RED in 2K/3K mode depending on the model) but I was blown away by the images I was able to get out of it. I can dig up some stills from a project I shot with it later on tonight when I get home from the office.
  7. Thank you both for your insight! I'll do some more research on the pros/cons of Soft FX and Black Diffusion FX. I'm really excited for the shoot and being able to get this look as close in camera as possible. I'll be sure to post some screencaps early next week with results!
  8. Hey everyone! First time poster and relatively new member to the boards. Was trying to rack my brain around on this and figured it'd be worth a shot asking here. I'm preparing to direct/shoot a music video next weekend, and I need some advice on choosing a diffusion/beauty filter set. Plan is to shoot on the Alexa with a K-35 25-120mm Macro Zoom (as well as a 14mm Canon Optex if we really need the width). Utilizing HMIs and some Astras for the lighting package. I wanted to give the video an older film feel to the image, which I'm aiming to do via the lenses and using harder lighting via the larger HMIs. I also wanted to use some beauty/diffusion filters for the last touch, since I'm a big fan of in camera filtration as opposed to post. I'm currently torn between two choices, either the Soft FX series or the Mitchell Diffusion series. Now there are a TON of videos online which help show the effects of Soft FX, and to be frank it seems like a great choice for flattering the talent, while still mainting some sharpness (not to mention they don't seem to go super crazy with the halation around sources in frame). But since I wanted to give an older feel to this video, I thought about maybe going with some older vintage filters. This led me to learning about the Mitchell Diffusion series (Strengths A-E). I like the idea of using older diffusion filters, but I'm worried because for the life of me I cannot find any relevant info online about them, save for a really unsatisfactory test on Vimeo. I emailed Stan at the Filter Gallery here in NYC about it, and he mentioned that Soft FX has oval shaped lenslets, while the Mitchell series have a ripple effect. Has anyone ever used the Mitchell diffusion before? I'd love to hear some first had experiences with them, or if possible see something shot with them. Even some screen grabs will do. I'm going on Wednesday to check them out in person but I wanted to see if anyone here had any relevant info to share. Thanks!
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