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Gabriel Devereux

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About Gabriel Devereux

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  • Occupation
    Cinematographer
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    Australia / United Kingdom

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  1. The image fidelity is quite poor. This does bring up an interesting question of shooting things in a wide to crop in etc. I remember watching older RED advertisements that you can 'Shoot in a wide! Crop in, multiple shots in one!' blah, blah. However from looking at the RED image fidelity and also the resolving power of contemporary optics, or even perfect optics I doubt we'd ever be able to seriously crop into an image without impact to the image fidelity, unless we all started to shoot on incredibly large formats.. oh wait... As already with the UMP12k the 2.2 micrometer photo sites ar
  2. I've had relative luck and have faith in the Kino Freestyle line. However, you're asking a lot from any fixture. Most, if not all LED's can't resolve every LEE/Rosco/whatever filter colour, for every camera. Even if you accurately input information due to the discontinuous spectrum of all RGB LED fixtures it's likely the frequency bands emitted while being perceived as accurate from our photopic vision or even one camera system it may not be on another (due to different camera spectral response curves). Even if you measured with a colorimeter or such to match the two. You're matchi
  3. I'm not sure if a true formula or calculation would ever arise and be user friendly/simple. I keep getting stumped (admittedly no mathematician or physicist, in fact far from it). Even once understanding how to calculate light fall-off from a large source - assuming that the diffuser in this instance or bounce's intensity is uniform (which it often isn't with the nature of our lighting instruments). All that allows is calculating the fall off of light from said source (bounce, diffuser). Attempting to calculate the fall-off of the bounce source with only luminance information being
  4. Miss-information is a bit harsh - now disregarding minor discrepancies of which there are MANY. And the following is a tested approximation. I found that a frame (6x6' frame of Ultrabounce) when 6ft away from the subject (distance is the same as source size). With the frame evenly lit by a source (again another variable, however I found it gave minor discrepancies) placed 3-4' in front of the frame (in-between the subject and the frame). The light loss - is around 2 1/3 stops - 2 2/3 stops in relation to the fixture at the combined distance from source to frame and frame to subject.
  5. Emphasise on the word 'guesstimate' - of course you're correct but I find it helps better than nothing.
  6. As said above there are too many variables to be able to make an accurate calculation, however, I did once go down the path of trying to find a solution of calculating light fall-off from a soft source. I asked several cinematographers and none knew an exact answer (some recommended with Ultra bounce just cut 2 1/2 stops from your original output - this isn't accurate when your measuring close to the bounce however at a distance it is somewhat a good guesstimate). I went ahead and asked on a physics forum and got this answer - this answer was about shooting light through a diffusion.
  7. Out of curiosity regarding the RGB clipping - how would one fix it? From my understanding the white clipping stems from all RGBG photo sites being fully saturated (full, unable to interpret more incoming data) and therefore interpreting it as white light. Surely the only way to fix it would be to increase the physical size of said photo site (something camera manufacturers are doing the opposite of).
  8. If you're correcting multiple fixtures with multiple bulbs differing in age they all would be marginally different. Also if your supplementing daylight and so on.
  9. (As a younger aspiring/studying cinematographer). On commercial work and narrative work I always use my metre and spot metre, analogue and/or digital. This is for several reasons. During a pre-light/rig often the production I'm working on can't afford to have the camera package for that day. Even if they could it would be a waste and money and why would I need it if I can judge exposure through other means. This is the same with scouting... if you need to know the level of light in a dark room etc taking a camera package to judge exposure with, to me, is nonsensical. Not only that bu
  10. Too achieve similar results with fabric store music (cheese cloth) I just double it up
  11. I remember when Deakins talked about Revolutionary Road he talked about the curved pipe. Something along the lines of it giving a beautiful gradient. Exactly as said above it's a concave shape, cover, third of a semi-circle etc. That's about the only constant.
  12. Deakins uses it quite often. From what I've seen mostly in cu's/mids sometimes to wides, mid wides etc. It's quite an elegant way of wrapping light around the subject. All it is, in theory, is a series of frames (or he recommends a curved piece of pipe etc) in a third or about semi-circle around the subject with multiple lights hitting the bounce or diffusion sometimes at different intensities. The front frame or 'segment' acting as a 3/4 frontal, often at the lowest intensity wrapping light around the face. The next segment acting as a side light often a little more powerful, not b
  13. The fixture itself is relatively interchangeable for the desired outcome. For example, if you desire more control you might want to use fresnel fixtures. If you don't mind spill you could get away with an LED panel. An example, Roger once suggested Skypanels. You may want to consider using tungsten fixtures. They are easily dimmable which is quite important when trying to achieve the infamous Roger Deakins cove bounce. As far as im aware Deakins usually dims the fixtures as they go around the cove. The one closest to a 3/4 frontal of the subject dimmed the lowest also giving a slightly wa
  14. This webinar by the founder of Kino Flo from what I've read will answer the majority of your questions. There are definite benefits of gelling a white light emitting LED fixture over it attempting to replicate a colour and vis'a versa. I won't say more as I'm no engineer or colour scientist and the above explains it all, in my opinion, so well.
  15. Sir, Is it possible to see an example of this formula used in a practical location? This interests me greatly however cannot find useful education resources on the topic. Maybe I'm not looking in the right place.
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