Danyal Khan Niazi

Hey all! I have a movie coming up in which I need to simulate a total solar eclipse. The scope loosely involves the following: two types of shot- One camp which embodies the light gag of the sun slowly being eclipsed- and the very specific quality of light and shifting of light that this brings. and one camp which embodies the sun in total eclipse. I have a feeling that these are my two camps as technically they probably will need to be tackled in different ways. within these camps, some of the shot ideas are: - Mediums and closeup work on talent watching. - wides of rooftops in a suburban environment, with some sky visible in the frame. - ECU inserts of something that the sun creates speculars on. - Wide shot composite showing the sun itself in eclipse with landscape around. I have my stylistic approach in mind but I was wondering if anyone had their own insight into the process of selling this type of effect photographically - any references are welcome and any thoughts! so far the best example I’ve seen is the Eclipse sequence from apocalypto but I’m sure there are many more out there. all the best, Danyal

Hey guys, I was just wondering if anyone has a resource or book with detailed information on common light units used in film. I'm talking polar luminous intensity graphs, information on candelas, etc. Anything that one can read and light a set with using mathematics from the given data. I've been told that manufacturers supply this type of information but I have been having difficulty finding anything online. I could be looking in the wrong spots. Maybe there's a pdf flying around with information assembled by a well to do gaffer? Probably wishful thinking. Danyal Khan Niazi

What makes you think its the 35mm glass, and what is the difference? Thanks for all your input.

So you think it's superspeeds and not ultra16's? Just judging by the quality of some of the flaring and blooming I was thinking superspeeds but it was just so sharp.

So you think it's superspeeds and not ultra16's? I thought it could've been superspeeds just judging by the quality of some of the flaring and blooming.

Do you think the anamorphic flaring is filtration then? Also in many places the bokeh looks either anamorphic or just like distortions from field curvature? I think the above poster might've been on to something. But yes! Fantastic scan. Thanks for the reply

Hey guys, does anyone have any info on this Lorde music video that was shot on 16mm? I'm trying to find out what lenses Steve Annis used if anyone has any info. Maybe someone with a keen eye can hesistate a guess... I'm thinking panchros or superspeeds? Thoughts? I know a lot of DP's avoid diffusion filtration on 16mm but maybe it was cleaner lenses coupled with that?