Safaran Qureshi

Hi all, Im looking create a top down spotlight in a room for a commercial - Usually for a spotlight I'd go for a something like an Aputure 600d w/ the spotlight attachment but in this use case its much too long and beefy of a fixture and we want to rig it above frame line with relatively low ceilings. A 400 Jo-leko would be perfect in terms of output however the rental house in the UK doesn't have them up north (shooting outside of London). They are suggesting I use a dedo 400 with the spot attachment which sounds like a good idea, as there's no time and budget to do tests and I haven't used it before - I was wondering how these compared in terms of output? I can't find a comparison with foot-candles or output at similar distances online Any help much appreciated, thanks!

I'm hoping to replicate something similar to this reference - dolly into an eye. Originally the frame is quite wide (Wide/Mcu of subject sitting in chair), we then dolly into a macro of his eyeball (same as reference)within one shot -I am not sure which lens would be best to use for in this scenario. If I use a probe lens to pull this off (Probably the loawa)- I'm not sure that I'd be able to get the wide field of view needed for the start of the move (I'm not too familiar with probe lenses having never used them). Any advice, input or tips would be greatly appreciated! Thank you!

Thanks David!

Could anybody give me some recommendations for gels to achieve something similar to this? It's for an interior of a petrol station / gas station at night. Starting with 5600k LEDS lights rigged in the ceiling. Any recommendations much appreciated! Thanks

In case a DP/operator needs to interact with an actor for whatever reason (to take a light reading or something) and they can't remember the names of the actors. Usually a trainee would be asked to cut out a piece of the call sheet with the actors names and stick it on the operators side of camera. Just wondering the best way to actually stick it on

I usually cut out actor names on call sheets and stick them on the camera just with paper tape... it doesn't always hold very well throughout the day, also doesn't really look the cleanest. Wondering how you do this properly? thanks!

Hi guys, I am focus pulling on a local TV commercial in a few weeks. We will be shooting on an Alexa for static shots and then shooting on an FS7 on a Movi. We'll be using the same lenses for both cameras. As the gear is owned by the production company, I was told gear would be prepped for me and therefore no prep day. My main concern is that the back focus will be off when I put the lenses on the FS7 (or vice versa) and the markings of the lenses will be off, making it difficult for me to pull focus whilst its on the movi. Just wondering if this is a common issue what AC's do about this in varying budgets/levels. Lovely to hear any thoughts on this, thanks!

Ideally I'd like to get to the point where I can step onto any set, see any camera package and know exactly how to build it and where every piece goes and what every lever does. Quick release plate to dovetail to base plate etc. If anyone has any tips or resources on where I can familiarise myself with this sort of thing, it would be much appreciated. Thanks.

Was reading about a tip from a 1st ac who sometimes stands on actor marks, asks the 2nd or a PA to put their hands over the sensor plane mark and aim the disto laser towards camera to get measurements. Is the laser dangerous if accidentally pointed towards the lens/sensor of camera when trying to take a reading of the plane? Just want to make sure that's safe before I try this tip on set. Thanks.

I have been learning about how changing your ISO can affect where the stops above and below middle grey sits in your image. Apparently when using the Alexa LF, by using ISO 1600 instead of the native 800 ISO, you gain roughly an extra stop in the highlights (sacrificing the shadows) without much noticeable difference in noise. Source: I know that for the example, black magic has charts of dynamic range that corresponds to ISO and for the life of me I cannot find a similar chart for the Canon C300mk3. Does anybody know where I can access this information? I have checked manuals but no luck. Maybe I am being thick. Blackmagic Pocket Cinema Camera 4K chart; I have a shoot coming up, a sunny summery day exterior on the Canon C300mk3. I was wondering if it would be beneficial to shoot at 1600 ISO in order to get an extra stop in the highlights in c log 2. I am wondering if anybody has done this with the Canon c300mk3?, if it applies in the same way as the LF (1600 iso means extra stop)? and if this work regardless of shooting raw or XF-AVC? Any guidance on this topic would be greatly appreciated. Thank you.

Can anybody help out with some confusion I seem to be having about light? Lets say; I have one light in a scene (Keylight). Object A is 3 feet away from the key light. Object B is 6 feet away from the key light. I shoot two takes. One where my key light is at 100% brightness and one where the key light is at 50% brightness. Does the exposure of both A and B change by the same amount in both takes? Please answer with 'Yes' or 'No' and then why. Why am I asking?; When doing split lighting for example, I want to know if I expose one side of someones face at t2.8, will I get the same amount of bounce return (fill) as if I expose at t5.6? Thanks.

Renting a hazer and tube of death for an upcoming shoot, however I am worried about the British weather blowing away the haze immediately. The shoot takes place at night in the countryside in England. Is putting up fences with wind breakers on a good idea? has anyone faced this issue before? Thanks!