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imran qureshi

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  1. Thanks David! Do you reckon that they have purposefully lit the actors with light that is closer in kelvin to whatever the camera is rated at and left the background to go blue/uncorrected? or Do you reckon they have have just lit the entire scene with cool light and then separated the green in the set design from the magenta skin tones and accentuated the difference in the grade? Cheers!
  2. Here is the full scene: I really like the separation between the skin and the green surroundings as seen here; I know there are many ways to achieve this but I'm wondering if anyone can give their opinions on if they think this was done with production design/grade/light or a mixture of all of them in this instance? I would have assumed that there is some underexposed uncorrected daylight source outside the windows creeping in and then they have keyed the actors with a soft source that is closer in kelvin to whatever the camera is rated at. The uncorrected daylight is then shifted green in the grade. This look is also reinforced by the production design because the walls probably has a green tint anyway. However, There are a lot of images I have found on google from this scene with a completely different look. I don't know if the film has more than one colour grade because I can't find any information to confirm that. It doesn't look like the production design itself has much green, more warm brown colours. I also can't really tell if there is a different in colour temperature between the subjects and their surroundings or not? This may be unhelpful but this is the only behind the scenes I could find from this scene, it shows some of the lighting but they aren't very good pictures I'm afraid; Love to know any thoughts on how this look was achieved. Thanks!
  3. They look as if they are floating, I assume they are clamped into something on the walls but could anybody expand on this? would be super useful to do this on location. To clarify I am talking about the two lights I have circled in red, not the light that is articulated on the junior boom. Thanks!
  4. good point about the bending and not being able to slide back in. Thanks! I am planning on building a menace arm out of pipe like this in future, but the parts are sometimes hard to come by in the uk, not impossible though so ill just keep on the look out. Till then i’m going to be using the junior booms, hopefully it will be okay with balancing the 5kg lights. cheers!
  5. Thanks!! To confirm for future reference, if the counterweight that comes with the boom is not enough (lets just say just in case), is it okay to keep adding counterweight until proper balanced is achieved even if it goes over the 10kg payload or would you recommend to stay within 10kg near enough all together (counterweight and lights combined)?
  6. I want to boom a 5kg light on this boom arm at maximum extension but I would need to put around 15kg or so of additional counterweight on the other end (a guess) at maximum extension. as the max pay load is 10kg, I was wondering if this is safe. The people I have emailed at avenger seem to be giving mixed messaging, i think maybe the people doing the costumer service just aren't sure. I spoke to two different working grips and they said that the counterweight wouldn't count towards to max pay load as the counterweight would only help the pin strength. So I think I'm probably good to go but if anyone knows for sure that would be greatly appreciated! Thanks
  7. This is true, the minimum extension is 163cm and says max pay load is 40kg. Ill have to ring manfrotto/avenger on Monday, thanks!
  8. So I am thinking of buying an avenger d650 junior boom. Its chrome steel silver and extends 300cm long. The max pay load at minimum extension is 40kg. The max pay load at maximum extension is 10kg. I am wondering if this max pay load refers to everything on the boom (light and counterweight on the other end of the boom) or just the light? I am hoping to boom an aputure 300dmk2 with a lantern, roughly its just under 5kg. If i was to mount this on a boom arm fully extended I would estimate that it would take around 25kg of counterweight to make that balanced and stay horizontal. (This doesn’t take into account the clamping force on the pivot or other variables so it would probs be a bit less than 25kg). The boom itself already has a counterweight of 6.7kg already attached, I assume this doesnt count towards the max pay load. So that means to boom a 5kg light, i would roughly need to have a bit under 18.3kg of counterweight. This means all together (both counterweight and light on either end of the boom) i would be putting 23.3kg on the boom arm and thats well over the max pay load at maximum extension. This maybe leads me to think that the max pay load only refers to what you’re booming on one end? Because the boom would be pretty useless if the 10kg max load referers to both counterweight and light. Wondering if anybody can shed some light on this? Thanks!
  9. Ahh if it is 1/10th of a stop faster that is my answer! Thanks
  10. Thanks! Its interesting because I am wanting to expose to the right as I feel its useful for my c100 (its a camera that likes a lot of light) but first I just want to ‘calibrate my meter to my camera’ (make sure my meter’s middle grey and canons recommended ire for middle grey in Clog’ is the same). I guess i dont really need to know how to compensate for 50iso, i can just meter it at 800 and just use exposure compensation till the meter gives me what I want. I just thought it might be something useful to learn though and cant find much info on it online!
  11. Do you mean you shot at 800 iso or do you mean you shot at 850 and metered it at 800? Cheers
  12. 850ISO is the base iso on my camera where I get the most dynamic range. The issue is that my light meter only has 800 ISO and not 850 ISO. I can use the exposure compensation on my light meter (i can adjust by 1/10th of a stop at a time) to try and sort this (I hope) but I am not quite sure how to work that out, Wondering if anybody could help me sort this issue out? Thanks!
  13. Thanks! Update, I gaffer taped 216 diffusion to the inside of the windows and then tried again but this time placing the light towards the far right window frame and then having a second light towards the right and got an effect I am relatively happy with. This was done at about 2am with the lights still uplighting below the window. I think it will take a bit of adjustment to get the dark spots right (most of it is just the window frame so that happens naturally anyway during the day) but I think it might work with a bit of luck.
  14. For a student film, I am trying to rig an Aputure 300d mk2 with the light dome to shoot through a second story window. The only stands I have are 13 foot high but the windows are roughly 17-18 foot high. Here is a picture of me attempting this with the 13 door stand; Here is what it looked like in the room; Obviously this isn't what I'm after but I am thinking if I gel the windows with 216 diffusion and have the light shining down in the top right corner it may look convincing with the blinds shut fully? I'd need to test but any alternative ideas would be great. I would need to rent a Mombo combo to get the light that high but the issue is that I have got a very tight space to work with on the ground. I only have 42 inches of width to place stands on the ground due to a hedge behind the house so I dont know if I have enough room for a mathews mombo combo with the legs spread out. Could anyone confirm this? I don't have access to be beyond the bush/fence. The goal is I want to make it look like daylight coming in the window. Any suggestions much appreciated. Many thanks!
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