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Andreas Eymannsberger

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About Andreas Eymannsberger

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  • Occupation
    Cinematographer
  • Location
    Salzburg
  1. 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.
  2. 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)
  3. 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!
  4. Thanks a lot, I will look into testing these! I'm rather after sharpness reduction than overall contrast reduction. Great help!
  5. 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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