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Andreas Eymannsberger

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About Andreas Eymannsberger

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  • Occupation
    Cinematographer
  • Location
    Salzburg

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  1. I have already reached out to Cinematographer John Chema who shot this music video (as an example): But he couldn't tell me what the exact product was that was used in this one.
  2. Can anybody point me in the direction of a translucent material that is uniform, offering a large amount of diffusion and can be puchased seamlessly in sizes up to 6 x 3 meters? Solutions that came to my mind were Lee 400 or Savage Trans-Lum but can only be had on rolls ranging from 1,2m - 1,5m size.
  3. 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.
  4. 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 ge
  5. 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."
  6. 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.
  7. 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.
  8. 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 o
  9. 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
  10. 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 dayligh
  11. Thanks a lot, I will look into testing these! I'm rather after sharpness reduction than overall contrast reduction. Great help!
  12. 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
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