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imran qureshi

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Everything posted by imran qureshi

  1. 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.
  2. 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 g
  3. I want to mimic light coming from the shop window to the right of this frame, i doubt that the shop light (Co op) is exactly 5600k. I am wondering what gel I could use on my 5600k led lamp to match the co op source? any suggestions much appreciated, thanks!
  4. Its a film production course. I have an extremely dim view of the course to say the least but not sure if I should expand publicly just in case haha for the equipment its useful I guess.
  5. I think I will probably leave the pipe boom/menace arm until i either get the exact size of schedule 40 speed rail that goes with the kit some how or just save up for a mathews mini max or something of the like, although its definitely too expensive for me at the moment. Shame though! The goalpost rig I shall go ahead with regular 48.3mm scaff tube and construct it in the garden and make sure its safe as you say, thanks! in terms of my university, in all honesty I have tried many times to ask them for help but my film lecturers don’t really know what these rigs are or anything a
  6. I am also constructing a goal post rig but thought as I getting the scaff tubes anyway, I may as well invest in a menace arm kit to have as another option. I’m based in Leicester and I'm a film production uni student soon to graduate. Right now I'm just researching, I wouldn't go ahead with it unless I had confirmation it was safe by someone qualified. I should add as well, im not working on anything specific, I just wanted to have a solution generally to hide backlights from above for wide shots for whatever I'm working on. its a slightly frustrating experienc
  7. Thanks as always Phill!! in terms of heavy over head rigging, I just want to rig a 4 bank kino (about 12kg) obviously including the scaff tubes and clamps it will probably be about 20- 25kg boomed above frame line on a menace arm for interiors (so probably about 10ft high) In terms of the 1 1/4 menace arm kit (not really 1 1/4 as you know but really 42.164mm OD), i can find tube in the uk that is 42.4mm, do you think this would be okay? Or do you think i should just scrap the idea? In terms of the alloy type/grade, I will have to do more research. Not sure why there aren't any m
  8. I am looking to purchase a pipe boom/menace arm kit, problem is that they all take american size speedrail either 1 1/4 (42.164 OD) or 1 1/2 (48.26 OD). This size aluminium pipe is quite difficult to find in the UK, What uk size scaff tube would I buy to use these rigs? And also does alloy type matter? Because i know that american speedrail is 6061-t6 grade but this is difficult to find in the uk Many thanks!
  9. Brilliant, thank you! Enjoyed your ep on the team deakins podcast by the way!
  10. Thanks a lot! I shall be shooting on the alexa mini in prores. Looking at the still from ‘Burning’, would you recommend solely shooting actual blue hour to get this look and use the wb to reinforce the blue tint to taste? or would you say that the look is quite easy to fake with white balance and underexposure at any time of day? As long as diffusion is used to soften hard sunlight? (8x8 or 12x12 frames) thanks!
  11. Shooting a blue hour scene without a calibrated monitor only using a light meter. The scene is not in a full silhouette so will need to see the subjects faces. For a shot similar to the one below (Burning), If I am taking my light readings by taking an incident reading on the key side of my subjects face, how underexposed I should go in camera? or would it be better technique to expose the skin tones properly and bring everything down in post? ("Burning" - Directed by Lee Chang-dong - DoP - Hong Kyung-pyo) Secondly for a shot like the one below (Army Of Sha
  12. Thanks! is there a specific technique/procedure for this or is it just as simple as buying a tent/canopy that fits the dimensions of the window?
  13. For an interior scene with windows in shot, I am wanting to black out the daylight coming through the window and then light from outside through diffusion so that the lighting from the window is consistent and controlled throughout the whole shooting day. Is there a common method of doing this? perhaps using a black tent/gazebo outside the window and then placing lights inside the gazebo or blocking out daylight with 12x12 black solids? Thanks!
  14. Thanks so much for your detailed explanation! very useful!
  15. Looking at that website, it seems to be all elbows and different mounting options and not the rail itself. I'm trying to find 6061 schedule 40 pipe as this seems like the standard for building rigs for grips but finding it hard to find those specs for pipe in the UK. Not sure whether I am looking at USA stuff and there is a different name over here. I should have posted this in the Grip section, however I am not sure how to delete this post so I can post there instead as I dont want to spam the forum. Cheers
  16. Been trying to search this for a long while, perhaps its called something different in the UK? I am trying to buy speed rail for a goal post rig in which I will hang a kino flo 4 bank. Preferably I am looking for a 10 foot long speed rail, however for transport I may have to connect two 5 foot ones, however not sure how to check how safe this would be and the max load it would be capable of. I also cannot find a place to order them in the UK. Any advise? Thanks!
  17. Ah brilliant, thanks! The portraits look great. How soft of a fill light did you use on the key side? Or if you used a frontal eye light, what kind of source was used for the portraits? Cheers
  18. If my intention is to have a soft but contrasty image and I am lighting a subjects face with a 8x8 diffusion frame and find that it is wrapping too much light into the fill side of the face (even with a negative fill lets say), is it considered good technique to then switch to a harder (but still soft) light such as a 4x4 diffusion frame? and if the problem persists, keep going smaller or increasing the distance of the light (harder) until I get the right compromise? Or would it be better technique to use more flags or change position of the light to be more a more 180 degrees from the subject
  19. I'm interested in some effects gels such as 183 Moonlight blue, twilight blue and a few others, the light that I want to use it with (aputure 300d mk2) is daylight only, not sure what source you meant to use it with to get the desired 'moonlight blue' effect. Trying to find the answer to this everywhere but no luck. Wondering if anyone could help, thanks!
  20. Cheers! Do you happen to have an example of a moonlight scene that you think is more realistic with a harder source? every-time I look at moonlight in real life, it is definitely hard but every time I see it being a hard source in films, Im not sure, it seems a bit weird looking to me but maybe we aren't thinking of the same thing.
  21. In the above tutorial, at 2:00 the DoP connects four 4x4 diffusion frames together to create a cube, then uses a 4x4 reflector as the top layer of the cube. The cube is then placed 20ft in the air using stands, and then he blasts a light up into the cube to create his moonlight. Wondering what people’s thoughts on this are for getting a base exposure of moonlight at night, what are the pros and cons? Seems like a good idea especially on a tight budget but would be good to get a second opinion before I invest.
  22. Understood, so do you think i'm better off scraping the location and try to scout a location with white LEDS? thanks!
  23. Yeah sorry, it was a bit of a generalisation to say it was tungsten, it is probably sodium vapor. Here is a blury phone picture of the actual location. I was going to go to the location with my camera and figure out the actual kelvin of the lights by adjusting the white balance in camera until I get a neutral white light.
  24. Working on a student music video. It's at night in a perfect car park location that is being lit by various lampposts. It is a similar location to this Casey Neistat Samsung ad (I coloured corrected the screen-grab to appear blue). I want the lampposts to give a cool blue look, however, the trouble is that the location I have, the lampposts are tungsten. As they are in the shot, I am unable to gel the lampposts or anything like that. So I am wondering if it is a ludicrous idea to make the tungsten lampposts appear cool blue by manipulating the white balance in-camera? I also
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