Tibor Hencz

I recently acquired a Carl Zeiss Vario-Sonnar 1.8/10-100 and it seems to go out of focus between 50 and comes back to focus at 100. It really feels like a mechanical step happening at 50 that moves an element somehow, so I'm not sure if it should work like this or not, but I think it should be parfocal, so this shouldn't happen. Any ideas?

32 minutes ago, aapo lettinen said:

Color temperature difference is the key for the look, not the actual colour temperature. You may want to try something around 120 mired difference for starters and test how you like it. If using tungsten stock that could be roughly made for example by gelling the sky ambience to around 4200K and the key "direct sunlight" to around 2800K which would be pretty usable gelling transmission wise if using only tungsten units (only losing around one stop of light when gelling up and losing maybe 1/3 stop or something like that when gelling down) and the look would be approximately right out of the box for slightly warm sunlight appearance (sunlight around 45 mired on the warm side compared to the base colour balance of the stock which would be pretty ok look for my taste I think).

the next issue is how you would get the 4200K sky ambience light big enough so that it wraps the whole set nicely. that can be done in about million different ways and one needs to know how big a set you are actually using and what kind of light levels needed and what type of units are available (if they have the required output in the first place and how much they can be diffused before losing the needed output)

Is it possible to gel an HMI down to 4200K?

2 hours ago, Phil Connolly said:

Maybe dig through the archive and read David Mullens excellent thread on Manure. Lots of discussion around studio based EXT sets. 

Thanks, I definitely will read through it!

23 minutes ago, aapo lettinen said:

you just need to fake the sky ambience and the direct sunlight and it sells the daylight illusion perfectly. If you take the sky ambience away then the audience thinks it is supposed to be a night scene. Simple as that.

Yes, thanks, that makes a lot of sense. I'm planning to use film, super 8, so for daylight my only choice is 50D, or should I balance for tungsten?

31 minutes ago, Phil Rhodes said:

The thing is, I don't find that Trek shot in the slightest bit believable.

Believable was the wrong choice of word ?

I meant that the tones are balanced right so that they look like outdoors, the example was maybe not the best either, I'm not going for that cheesy look that much, maybe a better example would have been Heart Shaped Box.

Hi,

I'd like to light a set in a studio and make it look like it was outdoors. Sort of like this:

It's really hard to find anything on this technique, because I don't know what it's called.

I thought I could use some strong tungsten lights and 200T film.

(HMI lights and 50D film would not make it more believable, because the color temperature will be balanced out and won't be noticable, right?)

Any tips are appreciated.

Thanks