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Andreas Eymannsberger

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About Andreas Eymannsberger

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    Cinematographer
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    Salzburg

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  1. Is there any more input on this topic, maybe from @Chris Lange after the project? Will have to shoot in a moving bus as well. The moving part is mandatory, because there's no way (or shall I say budget) to VFX/project the moving outside. My approach would be a non-handheld-one if I could decide, but reading this thread it might be the only chance. The gimbal issue would be that it might compensate to much for actually wanted movement, e.g. the bus while cornering. I also thought about hard rigging, but the issue would always be vibrations. Tricky business.
  2. I just found out I can get access to a Nizo 156 XL, figured I could do something with film once. I have a few questions regarding certain details since there's no manual online to be found. - Is there real manual exposure with the 156 XL? Since there's no manual, is the green switch actual an aperture control? Since there is a manual setting it might as well be the case, otherwise there's just the +1 switch, I get the function of this. - Any point in trying the SLR Magic Anamorphot 1.33 40? Stepping it down from 49 to 52 could still work I guess. Would be even better to be able to get Super8 anamorphic. - Accompanied by the camera are two (sadly can't geht more information) 100D Kodak stocks. Probably way too old to be of much use. According to the infos I found the camera only meters for following speeds in Auto exposure mode: 40 and 160 ASA [17 and 23 DIN] with artificial light colour film 25 and 100 ASA [15 and 21 DIN] with daylight colour film 40 and 160 ASA [17 and 23 DIN] with black and white film If there's a way to avoid auto exposure I guess the last point doesn't matter that much, but how about if that's not working, just use 50D and always hit the +1 switch during exposure? Any help much appreciated!
  3. Another idea by Shane Hurlbut: "Rosco Chrome Orange color is amazing for replicating sodium vapors at night along with full plus green and 1/2 CTB on HMI’s to replicate Metal Halides."
  4. And therefore many that are not created equal, and probably lack certain qualities therefore... Thanks for the further input, I'm glad to hear that Going towards straw is not per-se a bad idea (if Deakins does it i guess), as it would be the first idea on how to get yellow. Dialing in green is really up to personal taste I guess.
  5. For a scene for an upcoming 40-minute film I'm tasked with lighting some night exteriors. From reading here and watching some examples I tend to like a (maybe not very realistic but) stylized Sodium look that is more yellow and gold rather than a very reddish rendering I often see on digital cameras. I guess the task is to create this for digital capture. My Plan was to use 2x Multi-PAR lights (8x each) for general atmospheric back-lighting (I have them easily available, though at 2800K), shape it further on the close ups and get some color contrast with daylight balanced HMIs or even LEDs. GOLD/YELLOW: (There are a few alternatives I already found, interested in your opinions) Khondji seems to like a mixture of 3200K Tungsten with 1/4 CTO and 1/4-1/2 plus green. https://theasc.com/magazine/may05/interpreter/index.html Hurlbut gets nice golden tones although I can't find lot's of information how: (Click, it's actuall not the HMI in the thumbnail, but in the middle section of the video Of course there's everything from Lee & Rosco that says Sodium on it, but I have a feeling that 651 Low Sodium and everything with Apricot and Bastard Amber would be to red on digital, I guess I am aiming more towards Urban Sodium, Industrial Sodium, 1/2-1/2 Mustard Yellow although I fear that they might be too gritty instead of golden/yellow? Am I completely off with testing straw and CTS instead of CTO or any reddish Sodium variant and combining it with green? 1/4-1/2 Plus Green seem to work fine? Could Sun Color Straw do both in one gel? I find it does on HMIs, slightly warming with a sometimes greenish shift? CYAN/BLUEISH-GREEN: While I find the yellow-part difficult, David Mullen (see image above) suggested Lee 60 Cyan on a tungsten par can for cyan/blueish green, although with daylight units I guess one could just aim use more Green (+1/4, +1/2)? Shelly Johnson mentioned Lee 241 & 242 for Tungsten & Film, I guess going slower on the green if daylight balanced sources (more blue in the source spectrum) do the mercury vapor trick could help compared to using film and tungsten?
  6. Just watched 'At Eternety's Gate' and I'm so mind-blown by the dusk exteriors! While it seems somewhat easy to get somewhat pleasant results at the edge between golden- and blue hour, what I took away from the movie and the beauty of these scenes was the glow of the faces and the color contrast between skin and surroundings. I think it worked really well to have natural(!) blue shadows (from soft sky light being bluer than the warm sun) and without the warm sun hitting the surroundings but a last hint(!) of red sun(?) on the skin. While this could have been the sun and even some kind of really light diffusion? (Hi Lite?) To get some questions together: Is there a way to support this look artificially? Get the right gel, bounce it against 12x12 UB white to have just the slightest hint of contrast on the skin? I guess what I am after isn't any direction, it's just the difference in reflection between the talent and the surroundings with the talent's skin getting some pop without looking artificially lit or even lit at all.
  7. I think there's some need for clarification: We are actually not lighting a play, but a magic show and the lighting is mostly about the magician and some surrounding props for the golden tint. That's the main question. (The 'set design' on stage will be Astera AX1 Tubes, the black background will be lit blue with 5600K even bluer gelled LED Panels, not much more to light there.) So I am not at all looking for a classical theatrical look but for a much softer, warmer result. We will be keying with an array of 2ks and 1ks in one spot through half silk (that's actually the cheapest option for our needs because most of it is available and just needs to be re-arranged) So repeating the question: How to tint halogen/tungsten lights gold? From what I learned so far on my own I am lookint at Lee Gold Tint 151 (which would even be available at the location ... conveniently)
  8. For a commercial I am thinking about a stage setting with deep blue dark background while I want to create some color contrast and have a really rich, deep gold key. We don't need it to look exactly like theater - upstage is mandatory, but I want to enhance it, have it softer and with deeper falloff than usual 'lit up' stages. Budget is limited, but we could shift around the provided trusty old theatrical fresnels with additional diffusion or rig daylight based LEDs with snap bags. Regarding the golden tint - what would be choices either way? I guess it's a lot more difficult with daylight based sources? For Tungsten: - Gold Tint 151? - Light Amber 102? For Daylight 5600K (LED): - Chrome Orange 179? - Deep Abmer 104? - CTS + any light amber? I would be so glad about any suggestions!
  9. Thanks a lot, I will look into testing these! I'm rather after sharpness reduction than overall contrast reduction. Great help!
  10. As winter is coming ski tourism spots are amongst the go to jobs in Winter here in Austria. I am lucky to shoot a rather narrative one, probably on Leica Rs. As the Elmarits are rather sharp I am looking for some mild diffusion. Camera will be Amira or Mini with mandatory UHD capture. Shooting outside in wintertime has brought me some problems with diffusion and I found Pearlescent (which I often like to use indoors) as well as ProMist to be unfit for the cause, the halation in bright areas is - of course - affecting snowy parts of images to a great extent. Does anybody have experience using diffusion filtration in such areas (I guess salt deserts / bright beaches, etc. would also apply) and found a good solution?
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