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Giovanni D'Onofrio

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Everything posted by Giovanni D'Onofrio

  1. dammit then! Is it because of the nesting properties? Anyway thanks, I'll consider them. I'll keep coming back to this.
  2. For what lights are you planning to use them? even smaller than 2k? Keep in mind that as for myself I'm talking about small leds, school 650-1k that I can pair with school stands, reflectors, cloth etc). I mean if I take those stands for 21 euro each at least I have 4 to play with for the time being. But I understand that it is not a professional item, it's a complex choice since I want to keep doing some light test asap and at the same time I'm imagining how a lighter future fiction kit would look like. Two different topic probably.
  3. Thanks! We don't even have c-stands in our school, imagine that :)) We use manfrotto 1004BAC for lighter stuff and heavy aluminium ones for bigger lights. I would buy the manfrotto but since I'd like to have 4 stands for small tests with leds or natural light before the school opens again (who knows when or how) I was thinking those 260cm neewer could be enough... I still have to decide if as bigger lights I wanna buy tungsten or new leds, since I can ipotetically still use school tungstens for a while. And yes sandbags!! I had push the thought for later... Trash bags sounds like a neat and simple idea.
  4. Oh, right, I hadn't thought to use it directly on lamps, I think I only tried the aluminium one once to make some shapes between barndoors. It is a little bit pricey!
  5. I've recently moved them on a shelf. I had naivelly kept some of them for years in a bag! Now they get appropriate levels of sunshine and dust 🙂
  6. It seems like the neewer stands can hold 5kg, I mean probably less but this arm could work? It's small, just for some extra reach https://www.thomann.de/fr/manfrotto_d520b_40_extension_arm_bk.htm The Manfrotto 1004 that my school have are great but for buying multiples I don't need to spend that much. I think I'd like to avoid taking a full soft kit and focus more on grip stands etc, I wanna use my small leds, bulbs, play with reflectors, and probably we will be able to keep using some of the light of the school on the next months. I've added the cinefoil yes! It's always usefull. But why "aluminium" gaffer specifically? Am I missing anything obvious? I've used the real magic arm usually, the one that can hold weight, but I think this small one is enough for some smaller lights.
  7. Hi Nicolas, thanks for your answer. I didn't thought of looking for manfrotto stuff there, I'll be happy to avoid amazon. Would you recommend other stores as well that ship in France? Yes absolutelly I was looking for an arm of some kind, I just couldn't decide on one. Even the neewer "rotule" don't convince me that much. How about this one ?https://www.thomann.de/fr/manfrotto_d520_40_extension_arm.htm And this curtain? https://www.thomann.de/fr/stairville_euro_curtain_320g_m_cut_2x3m.htm
  8. Our cinema school is closed because of the virus. And I'd like to keep experimenting with lights scenarios, for the fun of it but also to prepare for a small fiction. I have 3 small leds, usually I use tungsten/hmi from school. I will maybe consider a godox or some tungsten set but at the moment I was thinking about grip, rigging and similar. I feel like that should be my main concern, those were the kind of most usefull item on the shootings I've been. I've put up a small (around 400 euro) list of things on amazon. Is something clearly missing in your opinion? Or some priority to shift? - 4 neewer stands (I've put in a lot of neewer stuff because it seems like the cheap/good enough brand) - a couple of clamp lights, bulb, and china lantern - gaffer and cinefoil - a big 5-1 reflector, I already have a small one. Plus tissues. - more clamps and stuff
  9. That's exactly what I wanted to say. You'll get what a soft light is the first time you do it, at first we are not used to imagine that a light has to be soften because we don't notice how it happens in real life. After you get that you have to be able to find all kind of solution for large frames and controlling the spill, dealing with movements, having nice background separation etc. That's why in a lot of movies nowadays you don't see large things. It's harder and also forces you to think more creativelly (or just throw money at it).
  10. The school is located in the center of the city, we have a set directly on location, a good projection screen, grading room, multiple editing and sound rooms, beautiful libraries all around (including our historic one), a photo lab, a small auditorium for sound stuff, and a lot of tungsten lights 😄
  11. Just spamming my school here for those passing by 🙂 It's a beautiful cinema school in the south of France in Toulouse. The fees are extremelly low for european students, and sadly were rised up by x10 a couple of years ago for non EU students. Still the central university has done a "discount" to help with the transition... We'll see if they repeat it this year. EU 170 euros per year for Bachelor’s (Licence) programmes, 243 euros per year for Master’s programmes, International 2,770 euros per year for Bachelor’s (Licence) programmes, 3,770 euros per year for Master’s programmes, There's a very important cinematheque just in front of the school! You can ask me any question you like about the whole place 🙂 The kind of old but informative website! www.esav.fr And some pics More info:
  12. Only masterpieces allowed here I see... 🙂 A couple from Housu (1997). Obayashi died a few weeks ago...
  13. Thanks for the good explanation, doesn't get any clearer than this!
  14. Last time I had done some portait test, didn't post the image here, but was basically a hard light close up and a hard light bokeh. Today I moved on to medium framing and daylight. I'm still mainly trying to test the weight and the lights, not really testing the same locations that we will use. I picked a place that had door-windows to the exterior but extremelly in the shade. Kind of starting from scratch. The setup was as follow. KEY : 2.5K HMI through a diffusion frame + a 575 hmi bare FILL : 2K Tungsten fresnel with blue gel (I forgot to use the blonde!!) bounced and diffused. We didn't had enought of white roofs or walls. The result teached me that starting from scratch needs a ton of light. There wasn't a lot of bounce in the "room" tested but still. I surelly cannot hope to close more than 5.6. We were at 5.6 800 iso. And I'd say we were still underexposed by 1 stop. The 2.5K HMI is very heavy, ballast and windup included. So no way I'd take two, maybe (but maybe) 1 and only if really needed. Some pics. There's one pushed by 1 stop that looks better. Also my school just bought a rotolight kit! I had kind of "complained" on the last months so now we have something at least, the same model I was just researching, pretty funny. And I bought an equivalent small aputure for myself. My list is now as follow: - 1 1000W Fresnel // key light interieur - 1 2000W Blonde // fill réfléchi intérieur - 1 800W Mandarine // fill réfléchi intérieur petit - 2 Arri Fresnel 650W // spots et backlight - 2 Fresnel 300W // spots et backlight petits - 1 2500W HMI // faisceau fenêtre et extérieur jour. - 1 575W HMI Shaula // faisceau et extérieur jour petit. - Aputure Amaran AL-528S // key voiture, nuit parc, rêve - Aputure AL-H198 // fill voiture, nuit parc, rêve I'm still unsure what to test next. I'd say a more cinematic night scene with spots of light, trying to copy something from a movie that I like. Does this one looks good to you ?
  15. (seems like I can only edit once?) I'm also considering another Aputure (Amaran AL-528S) instead of the Rotolight, they look similar and I found a used spot version for less than 100 euro. All of this would work well for the dream scene/car discussion/close ups park night etc
  16. Thanks a ton for the answers 😄 I'm editing the first post according to the suggestions. Good idea, the 300 will be easier to rig and usefull in a lot of situations. My camera/lighting department will be indeed of 3 people, I don't think I can manage a very big crew yet so yes I feel the need to keep the lights at a minimum as well. And no generator. I'd like to have some battery powered leds so so much. Problem is the school has basically none. I have a couple of very small ones myself, an aputure and something else, I've used them in the past but they're just too small. I've tried to talk the school into buying some but it will take time... So no litepanels for the time being. But the rotolight seems very versatile for small or night situations, I was looking for a small not so expensive led to buy, thanks for the advice. And this review kind of sold me: https://www.newsshooter.com/2018/01/15/rotolight-neo-2-is-the-sequel-better-than-the-original/ I was thinking to get the "big" hmi to make some big beams from outside the windows, but you're right that in small appartements I could be short on power. At my place I have 7k availables for exemples. It could be the same in other small places. So yes could be usefull to swap one of the two for the smaller one. I really hope to have a lot of already available light on the three big/day interiors. And for night exteriors I'm ready to compromise more on the aperture, or as you said I could go with less bounce/fill. Yes absolutelly the 5d3@raw has a lot to offer in low light, I'm used to recover under exposed images, I guess I have to test it some more and see what I can add myself in a scene as the night park. Now that I remember there will also be a dream/night scene near a river with a more stilized light mmm Oh yes I had already received an advice from a professor to swap the fresnel for a blonde while I was doing some light tests. I'll do that!
  17. I'm starting to define a feature film I'd like to shoot (hopefully) next year. A weird love story in a french town, a lot of misterious things going on etc. I'm still not sure if there will be a budget of not, it will be my first feature, at school I have multiple peoples that will be able to help in every crew role and there's nothing expensive in the script. I guess food will be the main expense. I wanted to ask you some advices about the general quantity of light needed, which lamps to bring, maybe some specific things as my ideas become more defined, what can I build etc I'm planning to shoot with my 5D Mark III in magic lantern raw mode, multiple lenses available. The school has a Canon C300 and a Sony and some professional lenses but I want to be autonomous with it so I prefer to go with mine. I'd like to have a 5.6 / 8 f split, I don't want to fall in the full frame look. 800 ISO seems as a decent spot, I know it isn't the best for the 5D but some compromise has to be done... I'm interested to use hard lights as much as possible, no recent hyper soft light look. A first list of locations - Interior day/night small appartements with windows, around 30m2. - Big church day - Big library day - Crypt night - Big conference room sunset - Park day/night - Car night - Streets etc Some very random and unorganized stills I just grabbed as an exemples, I'll make this more clear for myself with time : https://imgur.com/a/QVvnJ8E Those are the lamps we have availables I have a couple of small leds and I was also thinking of building some kind of a maxi brute with E27 led bulbs, I've found one that output 2k lumens/120W for 10 euro. Is it even possible to build an array of them ? Just for when I will not have enough space to use big lamps. In general I'd say that I will take : - 2 of the 2500W HMI for windows and exteriors - at least one 2K tungsten fresnels for interiors levels - 1 baby as a key - 4 Arri 650 for the rest Let me know any advice or ideas that comes through your mind !
  18. I came in the topic looking to ask if foldable frames for diffusions exist but I guess I'll learn so much more! Thanks for taking the time to write the original posts and then stiching them here. Since lighting can get pretty complex is so valuable to have something like this, you have to start somewhere and usually it's on extremelly low budgets. Recap posts as this one should be pinned!
  19. Looking at your still and what you said I'd say it's mostly a matter of color profile. To monitor during shooting find a LUT you're comfortable with, then color correct appropriately on Davinci 🙂
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