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Stephen Sanchez

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Everything posted by Stephen Sanchez

  1. I thought it was tiffen filters, but Ira doesn't specifically state the manufacture of the Top Gun grads.
  2. Is this on a set? Or actually outside? The more specifics you have about your problem, Adarsh, the better an answer you'll get.
  3. @AdarshSo there's a couple ways you can consider lighting. They've already been brought up here: Lighting the space, or lighting for specifics, like layers you mentioned. A great way to look at it is both. Light for the space, then if the character is moved past that set, you can either choose to continue the gag with new lights (think interview setups on a long lens) or fill the new space with whatever natural/practical sources you like. Sometimes with relying on just lightingvthe space, you'll find holes of underexposure. So you can either add more to the space (somwtimes creativel
  4. I used this FX6 for a week for a new spot and... Oh my gosh. That AF feature is incredible. I did a backwards doorway dolly following talent coming toward camera. It locked onto her without a problem and really eliminated retakes from missed focus. This allowed the director to deal with talent only. Really cool. An issue I found was the unintuitive way to change faces. Canon makes it easy with touch screen, but Sony didnt go that route, and changes couldnt be done on the fly.
  5. @Phil Rhodes thanks Phil. I didn't consider forza. I'm looking at Aputure LS1 and Dracast too. @Gabriel Devereux yea I'm looking at white LED. You know, I've seen recent news stations built with LEDs completely. And while news doesn't care about image quality to the degree we do, I dont see any problem with it. The tech is constantly changing and refining. But for static skylight, I'm not concerned. Thanks for the info man. Personally I think banks of surplus Kino Image 80s would be perfect for the job. I'm on the fence about it, since LED is so efficient and dmx dimmable. And Image
  6. A lot of our LED production gear is color accurate, like skypannels, Litepanels and Aputure. But they're built for daily use, and are bulky and expensive for a permanent placement. I'm looking for LED fixtures just as color accurate as our production gear, but intended as permanent installations. I'm going to be lighting for a string of permanent studio sets. They're all interior rooms with "windows." The studio will have no hanging grid or grid power drops, but instead permentant sky and sun installations and main distro from lunchboxes for production floor lights. LED over t
  7. I know someone who had a welder copy their c-stand cart, using a hand truck as the base and scrap steel. It turned out well.
  8. Perhaps this article is what you are looking for? I haven't noticed a difference using a current sekonic digital light meter. I recently used my little L-308x to match back lights from Astra panels and Kino flo's, with HMI key and fill light. I had no problem. Perhaps the problem is related to older generation sensors?
  9. 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.
  10. @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
  11. 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.
  12. 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
  13. 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
  14. 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
  15. 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.
  16. 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.
  17. Looks nice. Thank you for not making their faces fall into blackness on the fill side. It looks natural.
  18. 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!
  19. Hey Jim, american E26 socket bulbs max out at 300w. You may have ordered the larger E39 Mogul base bulb.
  20. Like Mark said, use larger flags. As your sources get bigger, your cutters scale with them.
  21. @Satsuki Murashige I didn't consider the director's contribution. When you put it that way, this makes much more sense.
  22. Looks like a practical lamp inside and hard light outside shooting in. The frame shadow is casting on the inside curtains, so the source is outside. The hard source outside is low enough to light up the curtains to the ceiling, which can explain why the frame shadows are not lower. I think the light is at eye-level or lower as if from car headlights.
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