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Marta Teixeira P. Simoes

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About Marta Teixeira P. Simoes

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  • Occupation
    Cinematographer
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    London

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  1. Thank you all for the suggestions! The main goal is managing to do the disappearance of the character very very slowly. Even though it will be a bit of an experimental project, this shot in particular should be smooth. Which makes me more inclined not to do it on camera! I thought about the moving landscape just like Uli mentioned. Green screen is an option but I'm a bit scared because I never tried it before! I got some advice from the VFX artist who'll do the post production: make sure the green is as bright as possible, that the light hitting it is uniform and that the fabric is a bit lighter (since it's an exterior shot and it can be windy). Is there anything else I should watch out for? Thank you again, this is so helpful
  2. Hello, I'm shooting on super16 and there's a scene in the film where the caracter has to disappear very slowly in the landscape, something very similar to the Nosferatu (1922) scene attached. I'm wondering if we can achieve this just by shooting both the empty landscape + same landscape with the actress and then create the dissolve in post, or if I should do a real double exposure on camera . Looking forward to hear your thoughts!
  3. Hello, I'm currently preparing a shooting on super16mm with both Kodak Vision3 7207 250D and Kodak Vision3 7219 500T. There will be a scene in some sort of laboratory with fluorescent lamps visible on the shot (like the image attached). I would like to keep the color of these lamps a little bit bluish/turquoise and mix it with another source with redish light (coming from a machine like device). The colors I would like to achieve are something like the reference attached. The fluorescent lamps come both in 4000K and 6500K. Does this mean that if I'm shooting with the 500T stock (balanced for 3200K) and if I use the 6500K lamp without any filter, the light from the lamp will render bluish? And a red gel will be enough in the other light source? Thanks!
  4. Hello, Thank you for the great input, as always. I see how pushing to shoot the wide at the right time might be the clever solution since I don't have enough power and have space limitations. My wish and instinct would always be to use the natural light, but I guess I have to wait for the director's final decision regarding the coverage of the scene and negotiate it with the assistant director. Thanks again!
  5. Hello everyone, I'm preparing a short film with limited budget. I'm in the process of closing my light requests together with the gaffer. Of course we are looking for versatility (in the sense that the same lights will fit the different set ups) but there's one scene where I'm particularly worried about the quality of the light. I have to light a daylight scene in a leaving room where 4 women will be seating around a table. I'll start in the morning, which means that the sun won't be hitting the window but as it is now, we will continue with this location during the entire day, which means it will start coming in through the window at some point. Unfortunately, having the light outside the window is not an option. I'm thinking of placing it on the ceiling with the help of a polecat, but I also want to make sure that it will be possible to flag it and shape it around the actresses. Also, start with the wide and move for the closer shots for light continuity. My doubt is - what would be the best light to go with on this situation? I would like it to be soft and have a natural feel, but at the same time possible to cut and shape. We are looking at some led options, kinos, dedo octadome and maybe 400 HMI? Bellow there's 2 stills in black and white that are a reference, a picture of the possible framing and a picture of the leaving room. Thank you in advance for your help!
  6. Hello everyone! What a great welcome, thank you so much for the quick answers and good advice. I think I have a better idea of where to start now. The project is still a month away, but I will plan this scene keeping your advice in mind and discuss these ideas with the gaffer.
  7. Hello! This is my very first attempt of participation in a forum, so I hope I'm following the rules and that this answer wasn't replied a million times before. I'm currently preparing a short film and there's one particular scene where I would love to guarantee the kind of effect you see in the image attached - this kind of light "stain" that invades the picture on the right side. The scene I'm shooting is a woman staring into a mirror in a medium-sized public bathroom. The camera will be pointed at the mirror so what we see is her reflection. I was thinking of having a fluorescent tube as a key light above the mirror and then maybe carefully place a lamp closer to the lens to get this effect? The idea is that what's giving this light flair is the light above the mirror. Any thoughts on how could I achieve something similar? And is it also a matter of the kind of lens I'm using? Thank you in advance! Marta
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