Varuj Chapan

8 hours ago, Satsuki Murashige said:

The space lights are already 5600K and not 3200K? That makes it pretty simple - set the camera to 3200K-ish and CTO/CTS gel on your key light to taste. Real tungsten light or at least a Bi-Color LED would probably look better, but you gotta use what you have. 

Just make sure to flag the space lights off of your subject if you don’t want blue overhead spill. Depending on how much grip equipment you have access to, it might be simpler to just get a blue seamless backdrop instead of mixing color temps.

Thank you Satsuki!

Hi everyone,

Im shooting a dentist on a white cyc as he does a tutorial and want to change the background to a blue/green color.Since the studio Im going to shoot in is prelit with space lights for the background I was thinking what the easiest way to do this to get the most evenly lit background.I want to avoid gelling the space lights if I can because Im basically doing lighting and camera by myself.I have an idea and wanted to share to get your thoughts.Im thinking of keeping the space lights at 5600k and for my main light a 300d mkii  Im thinking of dropping a 1/4 cto and 1/8 minus green and custom white balance for the main light.What are your thoughts? I will leave a sample image of what Id like the background color to be and what the studio looks like.Thank you.

On 4/25/2020 at 4:18 PM, Guy Holt said:

Working in New England I too learned the hard way that it is better to put a light into  mirror boards than count on the sun. Mark Twain once said "if you don't like the weather in New England , wait five minutes and it will change."  A smaller light, like a 4k, into  mirror boards is a great way to replicate the feel of an 18k on an aerial lift.  The objective to putting an 18k Fresnel on a lift  at a distance is to replicate the angle and hard parallel rays of the sun. As you can see from the production stills of a Bose commercial below,  you can accomplish similar results by bouncing a 4k ARRIMAX from the ground into mirror boards on stands or a lift.  This set up gives you the hard parallel light of an 18K at a distance because, even though the light from the 4k spreads, the  boards at the window collimate the light by reflecting only  parallel rays.  You can get away with a smaller light since the distance of the throw is not as far. And you don't have to worry about the sun moving behind a cloud or a tree (as you can see in the stills below, the sun would not naturally shine through the windows of the workshop.) A 4k ARRIMAX is a good choice of light for this purpose since it has a lot of punch for its power and can be powered off a Honda EU6500 or a dryer receptacle with a 60A transformer/distro as pictured below.) In the Bose commercial we warmed up the 4k with half CTO to partially match the tungsten heads inside.

Guy Holt, Gaffer, ScreenLight & Grip, Lighting Rental and Sales in Boston

Hey AJ Young.This could very well work.I haven't worked with mirrors before so this is new to me.I will get my hands on them and test this out.Thank you!

On 2/24/2020 at 6:50 AM, Joseph Tese said:

hmm.. Because efficiency/speed is your goal and you have one lift, my impression is that you will have to rely more on natural light through the windows? If you're okay with that look, and focusing more on shaping the light inside.

That could be an option.Just worried the light might change over time.Also there isnt enough light coming in the room during afternoon.What if I have a light right on top of the window shining in? Maybe a kino 4 bank or something similar.

Thank you Miguel.Good advice!

8 hours ago, Miguel Angel said:

@Varuj Chapan, I lit this kitchen (twice because there were two different sequences in it with different tones) with 8 litemats on each window from the top to the bottom (there were 3 windows).

It was on a 4th floor with no access to balconies, scissor lifts, cherry pickers, etc, etc.

There is nothing else inside the kitchen other than a 8 x 8 net behind the camera on the wide shot and on the right side of the camera on the close up of the girl.  

The stills are ungraded by the way!

Hey Miguel,I really like this idea.This could be a good option.Unfortunatly there is only one window and I would need to hide the main light somewhere for the wide shot so that the window doesn't clip too much.Thanks.

9 hours ago, Joseph Tese said:

It somewhat depends on what you want to achieve.. What kind of mood are you going for? Is the sun going to blast through the window anyway when you shoot? Do you want to achieve flat sitcom style lighting? Is the ceiling white to throw the M18 into? How big is the room? Depending on how much talent and talent movement you might be able to shape things the way you want to with that package..But more context might be helpful.

Hey Joseph,Thanks for reaching out.The show is drama comedy so Im going to find the right balance between flat and moody.One option Im thinking could be to showing as though the recessed lights are the motivation of the key light.Its just that the recessed lights are tungsten balanced .Im more concerned about the wide shot because I need to establish where the light is coming from.I guess it would be a good idea not to show the ceiling so much.Another Idea I have was to bounce it somewhat of where the main actor will be at.Here is a couple stills of the bedroom

This is the window on the right side of the living room.

This living room is from another scene.There will be people sitting and watching tv.

Hi.I will be shooting a streaming series pilot soon and I am trying to figure out what the best solution is to light day light interiors without big lights.Is there a way to bounce light in a way that would look natural? The grip truck I will get has 1 Arri m18,couple joker 800ws and a couple Arri s60s.There is a scene in a 2nd floor master bedroom and the only way I can reach to the windows is with a scissor lift.Im trying to figure out the most  efficient way to light these scenes because we will be moving from one bedroom to another in one day.Good thing is we won't be moving locations.This is my first go at a larger production like this and since Im given this opportunity I want to nail it.Any advice will be much appreciated.

I am looking to buy a decent HDMI wireless video transmitter & receiver that doesn't brake the bank.I don't need super long distance just something that has good reliability and works at least 50ft in one room.I know Teradek is the standard but if anyone knows a good one that is less expensive please let me know.Thanks

Hey Bruce thank you for your feedback.I appreciate it.Its so hard to find the right music but I'm still on the search for it.I think I know which ones your talking about.I just added some in to change it up a bit but I will end up removing some of them.Would love to know more about what shots should go or cut short so it doesn't get boring.Thanks again.

Hi my name is Varuj and I am a new member.I am happy to be here and would love to get some critique from professionals on how to make my reel more effective.I would like to hear anything you would like to say.The cameras used are mostly the Sony a7iii,Fuji xt3, and Red.Thank you!

https://www.youtube.com/watch?v=rqK_81iTthk

Here is a link to the previous reel I made 

https://www.youtube.com/watch?v=RpPKl2ozo4s&t=5s