Gabriel Devereux

Too achieve similar results with fabric store music (cheese cloth) I just double it up

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.

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

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

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.

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.

Sir, May I ask how you lit the first scene? The moonlight is stunning. It looks like a relatively harsh source but the colour temp and possible gel used looks great!

Out of curiosity why would the truss system cost so much? One could easily rig a 3x3m (sorry I'm Australian) box goal post for less than a couple of hundred. You could attach the lights to the top rail as you could possibly go for less and have 2x 3m box pieces and speed rail in-between. Then attach a few outriggers further down the post with a couple of swivel clamps to give a bit more width to tie off your frame from there... That's what I did in a similar circumstance. It came to about $250 Australian for a 2 day rental.

Thank you for the replies! Thank you Mr Mullen! Yes sorry I used the wrong terminology. So basically if my shooting stop is a T2.8 at 400 ASA 180 degree so on I need 50fc for a stop over key. So I can move the sources back further if I in a sense combine them. Therefore creating a lesser/smoother fall off. I really used the incorrect terms. The idea was if I bounced multiple sources into a singular bounce I could potentially move the bounce further back getting a lesser fall-off. Re-diagram read from top to bottom. The top two triangles are the lights and so on. With the

Dear All, I have been wondering and testing how light stacks and its correlation to light fall off. The term 'stack' is most likely wrong, what I mean by it is when two beams of light overlap does the luminance value say foot candles in this instance add up? It makes sense as for example a maxi brute or other Fays that have several lower wattage lamps such as 1k's or 650's add up to produce a larger output. So for instance if I had several Par64 cans and rigged them in an array in which the distance between fixtures was minimal the total output would be the addition of all the outputs of

Sir, With painting walls for a scene such as this do you have a recommendation on what paint you should use? Something such as a middle grey or a little darker?

A number of questions. I believe I’ve seen this post on Roger Deakins forums and you wanted it to be similar to The Goldfinch? Anyways. To bounce the light (Jokers) the way you said requires the lights to be higher than said wall. That wall is as high as the ceiling so I am very much confused. Maybe I’m looking at the wrong wall? Either way I have no clue what your shooting stop is or how high you can rate your camera. If you want to get the Goldfinch look without rigging to the roof you could use balloon lights... as I imagine sky panels are out of the question. However thos

I'm sorry if I seemed aggressive. I just feel that making a statement such as that over a suspicion probably isn't the best idea. I'm not sure how things work in other cultures entirely but I know in mine if one where to be endorsed by a company or brand monetarily and continuously recommend them WHILE being considered one of the BEST in the field without disclosing said deal would be incredibly poor form and even possibly illegal? Theres nothing wrong with an artist taking a pay check, the more the better! However something of this nature is something I at least frown upon and wouldn't be too

Without evidence or proof your basically talking out of your arse. No offence intended. Would an artist, a wanky word but a word that describes someone such as Roger Deakins take a pay check to shoot on an ALEXA? Would Christoper Nolan take a pay check from Kodak and IMAX to shoot on film? The latter is far more likely seeing how far film has fallen. Will digital be able to ‘beat’ film? Yes. People are looking at digital like it’s a medium, it’s not. It’s just a series of switches that are getting smaller and smaller and faster and faster. People seem to look at digital in a way that it

Sean Bobbit Camera Image: This is a good video showing some preventative measures you can take to stop irreparable damage to yourself. Operating a camera on a shoulder has to be one of the funniest feelings however it is always much much more comfortable with back support. Lifting things as a grip, spark etc. Follow basic workplace safety such as 'lifting with your legs, not your back' (something I'm sure we've all heard before). Workout routine wise look for one aimed at fitness and core strength. A lot of workouts are designed to improve the 'look' of ones body not its

Some times I think cinematography has a likeness to Formula 1 racing (except cinematography is much more exciting). Part of it is the driving, the race. Watching and feeling the excitement of the race, the turns and the incredible amount of skill it takes from the drivers. I imagine that’s why most people watch it. But the cars are pretty cool too. Anyways the video is definitely interesting... all from such a small camera.

While where at it I’ll celebrate I’m not there as well!

Thank you for the reply! I was thinking of possibly layering black sheet with small holes, assortment of gels and then white diff. Re- photoshop and projector. Projecting onto a black sheet? I was thinking of doing that a while back but never thought it would work with the lack of reflectance. I imagine duvetyne would be too dark and matted for it. Would you by any chance know a good material?

Dear All, I recently came across the concept of having a series of small holes covered with different coloured gel on a roll or a series of large cards for bokeh in poor mans process (Poorly drawn diagram attached bellow). I have a number of questions and am looking for tips if anyone has attempted or tried and tested this method. I imagine you'd need to use quite a low powered fixture and the sheet itself would need to be quite far away from the cars back window? For white light I imagine you'd attach 216 or equivalent over one of the holes? Thanks Gabe

Not to relight this fire but... This is a painting. I knew this painter quite well and was always taken aback by the detail. It looked real, like someone had printed a photograph. I one day asked 'Why don't you just take a photo' (I was very young), he responded 'Because people can feel the difference'. Now by know means am I comparing the amount of work it takes to paint this work of art (which I may add the painter very much disliked and was pretty much forced to sign) to the amount of work it takes to shoot film. However film does take more work than digital and for that reason alone I

"need to output at least 100 foot candles at 2ft, to be useable in any interviewing set up." I'd recommend something a little higher. With your Nikon be sure to test! I say this as when I owned (now) relatively old DSLR's anything over 200 ISO I considered too noisy. Do some tests rating your camera at different ISO's and choose one you consider acceptable. If you where to shoot at 400ASA 5.6 you would at least 200 for caucasian skin. So test and it's always a good idea to go with more than less. It's always easier to cut a stop than to add one.

Hey all, I’m interested in hearing your thoughts on this new camera https://www.blackmagicdesign.com/products/blackmagicursaminipro. I am a previous owner of the Ursa Mini Pro which was a decent camera however a little unreliable. The timing on this for me couldn’t be more perfect for me as I just finished rewatching Yedlin’s resolution Demo when they announced it. Would such high resolution at this point make any difference other than compromising the latitude and quality of said pixels? Their latitude going from 15 stops (already through my tests some pretty generous advertising) to adv

Hey Larry, if im correct your diffusion panel emitting 510fc at 2ft with a -1 or 2 stop diffusion would be quite a fair bit below what your after. Even your 1058fc panel (does that output include the light cut from the diffusion. I would hope so? If not that means it’ll only output 250 fc at 2ft with it?) may be a little weak. Keep in mind 400 is for zone 5 (middle gray) if your exposing for Caucasian skin I imagine you’d want to go a stop over so that’s 800fc. That’s with the light being 2ft away from the persons face. Could you rate the camera a little higher than 100ASA? As at 40

If I may chime in as an innocent bystander with pretty much no agenda or bias. I believe the Hitler and Austria comment was a joke. At least to me it was. The way you wish to interpret the joke is up to you! However to quote our past Golden Globes host "If you can't joke about the more horrendous things in the world, what's the point of jokes? Whats the point in having humour? Humour is to get us over terrible things.". Please do take what was said as light heartedly as you can! There is no point getting frustrated over something so insignificant. This forum has endless information

I think it's commonly known. It's quite easy to see and feel. I remember watching a behind the scenes interview of Roger Deakins explaining why he sometimes shoots mid-close ups on a wider lens with the Coen brothers. He explained the same premise as what David said, you have a sense of presence. For an example when I look through a telescope or binoculars at a passing ship or plane I don't feel as if I am closer to it by doing so, I feel as if I'm observing it. Even though it is enlarged it doesn't feel closer so to speak. Compare that to shots in the Revenant where Leonardo DiCaprio is