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Stephen Sanchez

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About Stephen Sanchez

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  • Birthday 10/17/1985

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  • Location
    Tampa, Florida
  • My Gear
    FS7, FX9
  • Specialties
    Light properties, commercial photography

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  1. What an undertaking. This is a dream gift and opportunity to experiment! Right? I mean to intercept the sun over entire city blocks and place your own? What a treat! I would ensure that whatever the overhead solution is, that it works for you obviously. If the material can take the 80,000 lux of sunlight and bring it down to 10,000 lux or less, then your 18ks can work. Id look up the fixture photometrics and have the overhead diffuse and chop enough light to make those fixtures bright enough to play as sunlight. Remember, sunlight is 3 stops over skylight, on a clear cloudless day.
  2. @amirali mohammadi That professor is describing the same thing as two different terms. Perhaps he's using older concepts. "Fall-off", as I and every shooter/photographer I've met use it, is the fall-off rate. And it's literally the inverse square law. (Closer to the source, the steeper the drop. The further from source, the more gradual the drop.) Contrast ratio is separate. I would love to chat with this professor. Because contrast is dependent solely on a balance of more intense and less intense bodies of light that the subject sees. In the flash-photography example, if the ca
  3. A few times I had some Quasar crossfades flicker unexpectedly. It turns out it was the hand dimmer they were plugged into. This article says that X10 or Power Line Carrier (PLC) dimmers can flicker LEDs, because the loads are so small. The hand dimmer I was using was a rotary style. If you can test some dimmers with Quasars, you'll have cheap flicker.
  4. When it comes to lighting faces, I could explain better in person. Not so brief with text. But I'll try. If your bedsheet key is washing out the face. Then it is seeing too much of the face and needs to circle the subject until you get the texture you want. If you end up seeing your light gimmick in the shot, then back that source away. I almost always use walls, or back the stands up to walls. The larger and further your key is, the more it becomes a push for the whole room, not just your subject. And then it is more akin to a window. Same for kickers, if desired. Fill is different. Fill
  5. It looks like the building is south-facing and they plotted the shots around the sun to give a back light. So the shot of her exiting with the plates would be late in day. The profile shot of her walking through the tables would be like 1pm. And her closeup like at 10am. They planned that well. And clearly she's been filled with a stronger wrap from key-side (sun side). The thing about fill is it's done to taste. And in backlight situations like this, white surfaces can be anything (ex. styrene, ultrabounce). But I imagine they used 8x8 or 12x12 white frames behind camera. Someone here me
  6. That falls under personal preference. I've gained a lot of lighting preferences. You will too as you shoot. Just don't allow them to become rules. I think our work is flexible enough to allow us to, in a way, make the scenarios fit our preferred lighting methods. That may spark some arguments. But my point is three DPs with the same script will light it differently, based on their preferences. Some prefer windows only, some shut windows and rely on lamp practicals, some like the overheads motivated by chandelier. The same DP with a different motivation will even light differently (compar
  7. There is something called an Ergorig. The cam rests on a support brace that arches over your shoulder. The design looks height adjustable. Perhaps that design might work for you? Google Ergorig and you'll find various offshoots of the design.
  8. Technicolor Cinestyle picture profile does a good job. You must download it and load it onto your camera. Otherwise, this video explains the in-camera approach. But Cinestyle I think is flatter.
  9. Looks nice. Thank you for not making their faces fall into blackness on the fill side. It looks natural.
  10. To get that realistic shadow play, not really any, despite the feature being in some panel lights. Although in an AC issue, for Infinity War, they used several Chauvet COLOrado Batten LED light banks and built a softbox around them. It was used in the scene below, and it was beautiful. They controlled either each bank, or each individual LED, thus the shadows were not static. I'd love a reason to do that!
  11. Hey Jim, american E26 socket bulbs max out at 300w. You may have ordered the larger E39 Mogul base bulb.
  12. Like Mark said, use larger flags. As your sources get bigger, your cutters scale with them.
  13. @Satsuki Murashige I didn't consider the director's contribution. When you put it that way, this makes much more sense.
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