Kavish Agrawal

Thanks Chris! Checked out the references!

Thanks David for the reference, I had a look at it!!

Thank you so much for the detailed response! Its going to be tight shots only, close ups and mid close ups. What do you think about using a projector with moving footage, can be placed at a distance behind the window so its gonna be out of focus, but I don't think its going to be a good bet considering it has to look like rain outside! Will check out the references! Thanks!

Hi fellow cinematographers, Looking for some advice on shooting a car rain sequence in the night..Here are some pointers: 1. What is the ideal way to shoot a night car rain sequence? 2. Is it better to shoot a static car and cheat with moving lights and back lighting the rain? Or rather book a stretch of road and have rain on the entire road, although that would be heavy on budget as the entire road would have have rain? 3. Green Screen 2a. Is it a heavy VFX thing to do in post? 2b. Will backlighting rain, having moving lights around the car suffice to make it real? 4. Any other way of going about it? 5. Someone can direct me to a well shot sequence of car with rain outside would help. Thanks!!

Thank you so much, like you said Sky Panels are a great option, will test the decay effect it offers and compare it to the Papparazi effect and figure. Thanks for link of lightning strikes!!

The shutter system sounds interesting, was it like a electromechanical mechanism? Skypanels do have the lightning effect, will have to check how they can be used. However what about wide exterior shots? Here are some stills from Shutter Island. Note the lightning at the windows, pretty much how I would want to make it look like.. From the ASC article, Rodrigo mentioned using nine-light-mini-brutes but for an interior sequence. He had them on dimmer where the operator played with the dimmer intensity. Here are some stills from exterior and interior shots from Shutter Island. Thanks, Kavish

Hi All, Can anyone shed some light on creating thunder and lightening effect. Both interiors and exteriors. Exteriors on a road with a car in a wide shot and interiors when the character is sitting in a room with the rain and lightning happening outside the window and the effect seen inside the room. Thanks, Kavish

Hi, Can anyone talk about the lighting setup used here? Its from the film Peterloo, shot by Dick Pope. Thanks, Kavish Agrawal https://www.kavishagrawal.com/

True that!

Thanks David! Yeah seems like a diffusion near the camera and a large original source far away!!

Thanks Giacomo! Will definitely give Wolf Hall a watch!! Sounds interesting! Yeah, seems that..love the composition! Its so painterly!

Learnt from the films featurette that the location they used for shooting the House of Representatives did not allow them to rig lights inside, everything was lit from the windows. How do you think is the face-light done here? Love the lensing used here for the face and how the background is constructed with the higher floor(Lincolns wife is sitting there, there is an exchange of look between the two characters in this scene)

Hi, Is the same top source hitting the other actors in the shot as well and what it could be? Love the choice of top hard light falling on Lincolns face, along with the filter used on the camera, any idea what filter was used in this film? Also, slightly curious about how Lincoln is placed on the bed, bent around the knees, a deliberate choice?

Anyone concurs? ;)

Looks great! Any particular reason behind going for a toppish soft source? What was the real source you had in mind that you want to simulate? Thanks!

Thanks David! Hadn't thought about the metal hallide idea, will consider it. Even if i go for the moonlight, it wont be too blue, exactly like you said, will keep it subtle...Is it possible for you to share which film you did that(4k HMIs as streetlamps) so that i have a reference? Thanks again.

Hi guys, Ill be shooting a rain sequence soon. Heres a brief description of the scene: Two cars come and stop in front of each other on a bridge. A person each gets out and start arguing and have a tussle. Another car pulls up and and 3 more people join and start fighting with the main guy ultimately injuring him. It will be shot on a bridge which runs over a canal(attaching the location picture). So heres how I am planning to light it. Will be asking the art director to install four street lamps on the bridge(5k sodium vapour lamps on dimmers, there is slow motion also hence such intensity of the bulb). In the master shot(location picture attached, that axis), you can see the water body(can see the white waves), so planning to light that small portion(that is visible in the shot) with a moonlight source. I want the rain to be backlight with the streetlight lamps for the fight sequence from one side and probably with the moonlight source(6k Par with 1/2 cto to get a semi blue color). Planning to simlaute the bounce coming from streetlights for the facelight.(and backish moonlight). Any thoughts on this? Also, any particular points as to how to shoot rain sequences in night? I love the rain sequence in 'Road to Perdition' one of my references for the scene. Color temperature: 3200k PS. Might use the car headlights as well. Thanks, Kavish

Hey guys, It'll be great if someone breakdown the lighting setup of this sequence from Bridge of Spies. What fixtures are used here, and what is the overall approach to the lighting? Thanks, Kavish

Have to watch those two, but i liked The Terminal. 'Catch me If you can' also has certain elements like these but not as much as in 'The Judge'. When I saw the film, I was cringing at those parts where I could feel the light..something new for me considering it was a deliberate move.

Thats true, it does quicken the process, i guess its about tastes then..plus like he mentioned he wanted the audience to feel the light, now thats something atleast i have not heard of, something interesting!!

Hahaha! Agreed!!

Hi guys, My first post on the forum, looking forward for some amazing interaction with fellow cinematographers and the experienced. Recently watched the film 'The Judge' DP'd by the great Janus Kaminski. Big fan of his work on Saving Private Ryan, Catch Me If you can, The Terminal. However, i found the film a tad bit lit at some places. And then while researching i came across this article: https://www.indiewire.com/2014/10/the-judge-dp-janusz-kaminski-finds-beauty-in-a-bygone-america-190666/ where he mentions that he was looking for "I wanted to make an old-style movie where you feel the light. I wanted to use the void of light or having the sun streaming through windows and telling the audience: pay attention because something important is going to happen.” Wanted to know what you guys thought about the lighting and cinematography of the film. I am a naturalist(like most you are am sure), so it'd be interesting to know your thoughts on this.