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Lucita Jones

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Everything posted by Lucita Jones

  1. Hey! I finally saw Notre Musique. I am curious as to what formats they shot on. I know it was shot almost entirely on 35mm , but I am sure there were scenes other than the footage scenes - shot on video aswell. I would like to read about Godard's and cinematographer Julien Hirsch's creative and narrative process in this film. Cheers Ana
  2. Hi everyone, I am seeking to improve my skills in digital cinematography (lighting, shooting and color grading) and would like to know if there are any good Cinematography courses or workshops in L.A. or California in general. I already went through film school, and have been working as DP for some years now. I am not interested in a degree program but rather something shorter and hands on, mostly in digital cinematography, lighting and color grading. I'm considering the Maine workshops, but am also very interested in finding something in LA. Here's a link to the trailer of the feature I shot, called "Tercer Mundo". It's really cool, please check it out: Hope to hear your recommendations! Thanks, Ana Lucia, alias Lucita Jones “Third World The Movie” -Best Central American Feature Film Icaro Film festival 2009 -Official Selection Cinequest 2010 -Official Selection Cine Las Americas 2010 www.thirdworldthemovie.com
  3. True, those are the names that students of mine who are in their twenties most often mention.
  4. Interesting, I'm going to try it. Up to now I had always used WHITE curtains in the hope that they would soften the light, but I see your point. Thanks.
  5. Your answer leads me to an important question I've always had. I tend to use windows as source lights, but am faced with the problem that they become overexposed. The same thing as when you use a practical as a key light. To get the exposure you need, the lamp has to be very lit and will therefore appear overexposed. So, is it really a good idea to use a window as a light source when the window is in the frame? Wouldn´t it be better to place another light next to the window to reproduce the effect of light coming in from a window? Thanks.
  6. :lol: . Saw the video, its very funny and very realistic Cheers
  7. Thank you very much for answering my doubt!!!
  8. Ok, I'm willing to bet my all my equipment that I am the first person asking this, but I just need to get an answer from a native English speaker or from a pro working in an English speaking country. When we talk about setting a lamp to FLOOD or SPOT..... is "flood" pronounced as in "floods of water" ??? or is it "flood" as in "coop or wood" ??? You see, I teach my students that it is "flood " as in a "flood of light", which makes a lot of sense to me. But everyone else here (we speak Spanish) uses "flood" as in "wood". So, which is the correct form? Thanks!
  9. Hi, I would like to know which films have been shot on the Eterna Vivid 160 (high contrast) and which other high contrast color negatives are there in the market. (Does Kodak still manufacture high contrast negative films, and if so, which? Thanks a lot LucitaJOnes
  10. Hey I'd love to see those tests you did. Could you share some pictures with us? Thanks
  11. What I admire the most about Sacha Vierny is his "consistency" in the way he built his filmography throughout his life. He was truly committed to his view of cinema, and that's what made him work with Greenaway, Raoul Ruiz and Resnais. I think his HEART and SOUL were put in these movies, of which he is also an author. I love those examples of life-long or continued collaborations, like Nykvist and Bergman, Alcott and Kubrick....I'm building one myself, but we'll have to let some years pass before we can talk about a "life-long collaboration". In the meantime, you can check the trailer of our last film "Tercer Mundo", shot in Chile, Costa Rica and Bolivia (in post-production) www.youtube.com/watch?v=XaIbjFThKB0 Thanks!
  12. Something to consider: You can make a high key lighting using soft sources (lots of bounce and soft shadows), or using hard light sources that produce strong shadows. Likewise, you can make low key lighting using both soft and hard light sources. The way to identify low / kigh key lighting is mostly by the amount of light or dark areas in the image, not by the type of the lighting used. Hope this adds to the discussion. LuciTa Something to consider: You can make a high key lighting using soft sources (lots of bounce and soft shadows), or using hard light sources that produce strong shadows. Likewise, you can make low key lighting using both soft and hard light sources. The way to identify low / kigh key lighting is mostly by the amount of light or dark areas in the image, not by the type of the lighting used. Hope this adds to the discussion. LuciTa
  13. Lucita Jones

    HDV For 35mm

    So am I, I am shooting 50i on the ZiU for a feature that we will transfer to 35mm. Its the first time we ever do this but it seems to be the trend here in Latin America. We still dont know where to do the transfer: Swiss Effects is an option, but there are also other labs in Montreal and Spain taht we are considering. Where are you doing yours? Good luck!!!!! Lucita When I decided to get the Sony Z1, it was because of the high resolution. I figured: with a high enough resolution I can do many things in post (like deinterlacing) and still preserve image quality. The 24p, however, would capture progressive but at a lower resolution (less color and image quality). Do you find my arguments hold true at all? Thanks... Lucita
  14. The LCD is supposed to show brighter images, that is, you see things lighter than how they are truly recorded. I always use zebra as a reference for correct exposure, thus assuring myself that what I record is exposed just as I want it to be. Maybe using zebra will help you?
  15. Lucita Jones

    Lighting Progams

    I started using Power Point and made very clean and neat diagrams. But then I felt that the whole process was getting much too clean and digital. I started missing the sense of touch and freedom that comes from using a pencil and eraser. So now I draw my diagrams and then scan them for the rest of the crew. Its a personal thing. When life becomes too digital you start losing the organic part of creating, I feel...
  16. What a useful answer, thanks a lot Kristy and all who helped. Lucita
  17. Lucita Jones

    Cleaning tape

    Hi, Forthe z1, after how many hours of tape running is it recommended to use the Cleaning tape? Thanks, Lucita Jones
  18. Hi, The location I am lighting for a video is a neighborhood mini -market originally lit with fluorecent tubes. I need to raise the light level to it even it with the exterior. I am thinking of bouncing two 800w Tota lights to the ceiling just to raise the level. The light for the sceen will be justified with the fluorescents. I will probably gel the Totas with 1/8 CTB to match them with the fluorescents. My question is, how will both temperatures balance together? Should I white balance with both lights on? Are there other ways of raising the light level when dealing with fluorescent lights? Thanks LJ
  19. Hello David I am very interested in knowing if you have established a relationship between a given level of reflected light and the zebra pattern that forms at 70IRE. (In other words, how much reflected light will produce the zebra pattern). I believe the unit for measuring reflected light is the foot lambert. If I am correct, then I think it could be possible to determine how many foot lamberts produce a certain amount of zebra pattern. With this information, you could be able to set your lights based on your light meter`s readings (set to indicate foot Lamberts) and free yourself from the camera´s LCD for checking exposure. Would you agree with this way of setting the correct exposure with relation to the zebra pattern? Thanks for your opinion LJ
  20. I think this approach might work: Before setting any lights, set the zebra to 100 and check for clipping areas. Correct them (NDs, black silk, etc.) Then switch camera to 70IRE and light the scene for your desired T stop. Fianlly, switch to 100 zebra to check any oither highlight that might have. Since I havent tried this approach, Id light to know your opinion... Thanks LJ
  21. I became aware of the same discrepancy today as I was trying to figure ot me camera`s ASA. I imagined that the autoexposure would give me a reading which at the same time would present zebra at 70IRE. But the autoexposure reading was about one stop darker than the reading with zebra. What I want is to use a lightmeter (on reflected mode) and to be able to determine how many foot lamberts my camera needs for any given subject to register 70IRE at a predetermined T stop. I want to use a lightmeter in order to work apart from the camera and the LCD. However, I want to set my lights according to the IRE of the image. I am thinking of lighting to 70IRE and then checking if at 100IRE I get zebra stripes and then reduce light levels as required. Please if anyone has a similar method, I'd appreciate your advice. Thanks LJ
  22. Great advice everyone. This is something everyone should know, and yet it was totally new for me. I will spread the word though. Thanks and happy filmmaking.
  23. When using the ZIU, do you set the zebra to 70, 90 or 100? With the PD150 I would expose with the zebra on 70IRE and then check for clipping highlights with zebra 100. I would quickly reach a balance between both. Now the Z1U does not have that option. With this camera, I would set the zebra on 100 so I will be "warned" upfront about overexposure and work on that. Instead, if I set it on 70, I will always have to switch it to 100 to check highlights. I'd just like to know how you do it...Thanks LJ
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