Adrian Ramirez

I'm on a small single day shoot next week that is using a Preston FIZ kit (not sure on HU3 or HU4 yet), and my last experience with that kit was at an Abel Cine AC workshop with Ian over a year ago. I'm studying the manuals and videos that I can find, but nothing beats hand on experience! The DP is aware of my lack of experience here and he's happy to guide me through it, but I still want to show up as prepared as possible so I'm hoping to find someone in the LA area who can help me out. I'm happy to compensate you for an hour or so of your time to walk me through best practices and setup any day between Wednesday and Friday this week. If there's anyone out there who can help a budding AC out let me know!

Can anyone point me to specific resources on a good workflow for LUT creation? Is there a standard to follow or does everyone have their own way of going about it? There's quite a mess to sift through on YouTube and Google so I'm hoping for something a little more pointed. This is out of personal interest and not for a job by the way - I want to be able to develop the skill and have a bit of fun with it at home. Thanks!

Hello, I'm a cinema student in California and have turned to this forum countless times for advice, so you may see a few posts similar to this coming from me in the immediate future. I'm recreating the lighting from the stills I've attached below from the Hungarian film On Body and Soul, and I'm hoping to get some guidance on how to achieve it. We will be filming on a sound stage, and we have half a dozen Mole Richardson 2K Fresnels, 2 Mole Richardson 4k Super Softlites, and varying diffusion available to us. I based my overhead on the angle of light and different contrast ratios I was able to read from the images. What should I change, what am I doing wrong, is there overhead lighting that I'm missing, and what's the best way to approach this ?