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Stephen Sanchez

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About Stephen Sanchez

  • Rank

  • Birthday 10/17/1985

Profile Information

  • Occupation
    Cinematographer
  • Location
    Tampa, Florida
  • My Gear
    FS7, FX9
  • Specialties
    Light study & infomercials

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  1. No experience in Florida. We don't have specialized stuff like that (Hive Plasma lights, Grip clouds, Softsun, etc.) If you want users, I'd search Instagram for tagged gaffers and contact them. It may benefit to contact Rotolight and ask for known users for research purposes.
  2. Advantages. Their greatest advantage is the output remains, whether you want warm or cool light (as opposed to losing output by gelling). It keeps you from buying/renting/storing dedicated fixtures each for tungsten setups and daylight setups. The RGB lights can match to the surrounding atmosphere, say to the green spill in a jungle or the green cast of fluorescents. — Disadvantages. They are not spot-floodable like our traditional hotlights. Advantages. Diffusions are great at scattering light (making soft light). Can be cut to specific sizes, say for practicals. Disadvantages. The f
  3. He's making a 4x4 space light or lantern. There are balloon lights that do the same. I'm not a fan of a silver card in the top as it will throw a lot of light back down at the fixture or whatever direction the angle of reflectance is. I'd prefer a styrene top. But then it would be like a booklight cube with lots of stop loss. I agree with Stuart on the direction those par lights throw. Every production has a budget, and every budget has solutions. Rosen has some really interesting techniques. Like his greenscreen exposure trick and the "double 85b", both I've wanted to give a wh
  4. I intended to ask about these after watching Maisel S3 during the “great break” of last year. Hence the random timing. These shots were my favorite to dissect. Thanks in advance David. The aircraft hangar in S3 E1. The stage exposure. Was that a 6x20 balloon light overhead? A tube perhaps at the edge of stage? Is it painted out in post? It seems to be well controlled off the rafters overhead. For the umbrella scene S3 E6. The foreground is under what appears to be a 60’ overhead. How did you expose under the umbrellas so well? To add, two of the subjects are wearing hats! At lea
  5. You're concerned that moving the exterior lights that will break continuity with the other shots? My response to that would be yes. But that doesn't mean it will be obvious. Being the DP, you are the caretaker of the image throughout the show and must make sure that the different shots seem like a believable space. I cheat light positions all the time when repositioning. It's possible to put yourself into a position in a scene where a shot can't match the others because you had to remove the lights. So, any coverage directions should be considered before lighting so that doesn't happ
  6. If you want to avoid blown out windows, it's an exposure balance you need to achieve. This is a solution you find by taking your location, and planning for the sun's position and the amount of exposure your lights offer. Something that I do when windows are in the shot is set the iris to expose for the window at a range of detail I like, then light the frame to meet the window at a pleasing level. If it's your lights that are blowing out the windows then turn them off.
  7. I'll preface by saying that every category of cinematography has different priorities with the image. Truly. Fashion likes flat unrealistically bright lighting and windows can blow out if they want. Commercials like well exposed perfect representation images, drama can like anything and is usually contrasty. This is a wide generalization. To compare. My profession is mass-market commercial (infomercials), with non-dramatic happy perfect scenario images. The windows are never blown out, and they contain detail on the edge of clipping. I couldn't get away with the church shot you described
  8. As far as color accuracy. I've not noticed a difference. LEDs and HMI are interchangeable. The early LED fixtures had some green to them, like Aadyntech Eco Punch (like a 2.5kw HMI). But 1/4 green might be desirable moonlight for you. I would prioritize output of the fixture and only use lightweight coloring gels. Any heavy gel will cut a lot of light. Outside, you'd be surprised how much a 1200 HMI doesn't expose to, when throwing it over a large space. Tungsten is already expensive on the amps, gelling them would need even more amps to reach the original output. I tend to shoot HM
  9. I should probably clarify that the 4x8 cards and 4x4 were powered by HMI lights. A white card at night alone will do nothing without a source of light to collect from.
  10. This is in the city? A neighborhood? A country road? The woods? If in the city, especially an alley, it makes sense for foreground moonlight to come primarily from top. But if it's in the country, or woods, a sidier back light lifted from ground can work as opposed to a balloon. Budget may prevent the mombo combos necessary to reach a bounce or diffusion high enough to sell large frames as moon light. A balloon could be either sidey or toppy though, so there's a plus! Construction cost, time, and materials is really your judgement call. Bear in mind possible problems that may arise on sho
  11. That sounds like a great idea. In my experience super tight shots always take longer than budgeted. That brings up some great talking points. 1) budgeting time to light shots, 2) having to complete a task in unideal situations. I'll add that to the list.
  12. Satsuki, did you consider setting this up outside? Skylight will incident meter at f30 for me on a normal day. Use that for the back soft light, build a tend around the camera side with floppies (or dense diffusion rag), and set an HMI for the rim. The hard light will show the texture of the iris, which I liked from the first image you posted. That would be my go-to for the required stoppage.
  13. @Satsuki Murashige , fantastic! Actually this discussion is an example of what I plan to do live with a handful of other shooters. It's purpose is to show there are different viewpoints and solutions for a given scenario. Its secondary purpose is to foster conversation on lighting between DPs who don't get to watch others work. To get in on this dapple train, it may be that projectors are the best option for the cost. My stab at the solution would be expensive. Remember that branches are volumous, while cammo net is like a 2D plane. I believe it's the random stacking of arms a
  14. Lighting is a developed skill and there is no shame in recognizing one’s images lack for some reason. I’m collecting questions that new or inexperienced shooters would like to ask other well-lit DPs. I would like to point out that we are all inexperienced in some capacity, so those of you well-knowledged DPs, I would encourage some advanced questions from you. These questions can be hypothetical scenarios or problems from the past. Perhaps there is a subject you’ve always been curious about but never tested it or knew how to deal with. Perhaps you don’t know how to shoot black on bla
  15. I'll third the Astras. The Pelican hardcase Robin talked about can take x2 25ft stingers and a tri-tap, including the kit stands, and still be under the 50lb limit for airlines!
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