Simon Bradley

Hey Satsuki, Pretty much my thoughts aswell! the rigging of a big overhead would be a mess, so i might be constricted in shooting upwards, but i dont think that would matter too much. I will consider multiple sources instead of 1. Gives me the ability to be a bit more flexible on the day aswell. thanks!

Hey guys, I have a really cool job coming up. I have acquired quite an amazing location to shoot a skincare brand ad. It is a huge dome with transparent windows containing a fake tropical forest. In the middle of the dome stands a tall "outlook" post from which one can put lights. It has a 360 view, so i can create a large source from the top. The goal is to create a stunning ad that will feel dreamy and etheral. The look is going to be with cool, muted tones and silvery , glowing highlights. now, if you will please check out this reference film for the shoot. The reference film is created more or less as a shot to shot storyboard, so this is what we are refernecing at all times and the look we need to recreate. we are basically going for this look. I have decided to shoot it during the night to better be able to control the lighting. Also because this is a large transparent dome. So basically i can treat is a an alternative studio, working from scratch. The general idea is to fill A LOT of haze into the room and light with a 6k hmi from the top as a "moonlight" or sunlight if you will. I specifically do not want it to look like a realistic night scene, nor a day scene. It has to be dreamy and etheral with pools of light and good contrast, but it can't go black. I will light the talent seperatly, but my main concern is the "room" tone. I am not sure whether the 6k through the tree tops into haze will provide enough spread of light. also, rain will be sprayed on the day which may also catch some of the light. I will shoot quite tight, as you can see in the video. We will at no point have to fill an area with light of more than 15x15 meters. I highly doubt we will see the model in full figure at any point. The canopy is quite thick, but i do believe sufficient amounts of light can pass through. Am i heading in the right direction? anything you would add that would play to the etheral and dreamy feeling? could you guys see any concerns?

Beautiful stuff man!

Yeah... i feel like it would contaminate his skin if it was a light. Might be a cool color and have then been shifted towards cyan in the grade

Thanks David - your knowledge is always very welcome and seemingly never ending!

Amazing Phil! Thanks!

Hi everybody, I just saw Hugo by Martin Scorsese DP'ed by Robert Richardson yesterday. Shot on alexa and cooke s4's (quite amazing to think you can get that camera for 5-10k nowadays). i was wondering how one would go about creating a look like this. There is some definite "teal orange" going on, but i feel like it is more refined than we see in a lot of films. It looks like this was achieved more so in set than in the grade, where some films push that look afterwards. I know this is a 150.000.000 million dollar movie and the set design and overall look is determined by more than just the cinematography. What i would like to dissect, though, is the more technical side of achieving this when, say, the production design and costumes are already top notch. Which white balance would you choose? Which lights? What are the key principles for achieving such color seperation? Can this be done on a budget? of course robert is also known for the hard backlight, which i actually quite like for the right story. Anyone knows how and which light he uses for this effect? i wanted to attach some more stills but there it wont allow me. Feel free to check out filmgrab for more stills: https://film-grab.com/2014/09/30/hugo/# All the best!

Hi Rick, is the price negotiable, do you ship to europe?