Moshe Mishali

what i mean is that i had two problems: 1. I wanted to reduce the reds and magenta in the highlights. 2. some secnes supposed to be a bit desaturated and the only function i could use is the "low key sat" which helped but i'm not sure if it was the right way. thanks mosh

hello i've recently used the dsr 450 for a documantry and i could find a good way to deal with the highlighs colors it's easy to fix the mid's and the low lights (i've used the RGB gamma and RGB black functions) but the only way i could loose some reds in the highlights was by changing the color temp which effects not only the highlights. does anyone has a better or easyer way to do that? i also couldn't find a good way to deal with the saturation so can you help me please? thanks moshe

it is a studio kitchen that i haven't seen yet, the light suposed to be hard with strong shadows in some parts and in other a soft ambianced light i think the reason for that choice is because he dosen't know a lot about the par HMI lights, tommarow we will see the studio together so i'll know what's it about and maybe run a few tests. i will advise him on all those matters ofcorse. thanks a lot i will write again when i'll have more details. mosh

I will be a gaffer on a stills catalog production we will be shooting on 100 iso in no less then 1/30 shutter and the iris we want to shoot with is between 11 to 16. We will use daylight film with HMI pars. The set is a kitchen. I will have two 4k's, one 2.5k and maybe a 1200/575k. I am a bit worried cause I never worked with 4K on film (only with video) and I don't know if that's enough light to get a decent picture. I'm thinking about getting one 6K instead of one 4K. Can anyone advise me on that issue? thanks mosh

there's one more way to make flourcent blink, you can take low watt starter (i think thats what you call it in english) it costs noting - 1/2$ and use it with a bigger watt bulb, let say you take a 40 watt bulb and use with a 25 watt starter then it blink, i've tried it a few times for an hour or so and it worked great. i did it because the dimmers i had couldn't make the effect. good luck mosh

peter - you are right about the PAL virsion it dosen't have a 24p mode but it has a 25p mode and thats what i'm going to use/ after testing i found that the best look for me is a 25p 1/50 shutter. thanks for the much needed info. p.s. do you now why the PAL virision dosen't have a 24p mode? thanks again mosh

hello i'm now testing for a music video that will be shot next month and the director like to get a film look for the video, we will shoot it with a dsr 450 at 24 fps the video is a rock band in an old rock concert like somthing from the 60ws it is all inside a big nightclub. my question is what's the best shutter to use with 24 fps to get an old film look? i have asked many dp's and many said to live the shutter of, others suggested 1/50 shutter. i will test both of course but i would like to hear any oppinions. thanks

bill i don't have an egg crate to put on the chimera, and the size of it is about 24X36 ft, also i used a full white diffusion on the key lights and it did soften the shadows but it's not enough. anyway i will try using the cimera from the opposite side and cut the light from the background. thanks mosh

I thought about lighting their faces from the opposite side but that requires a different set dressing cause as I said the room is too small and i don't have enough room to put my lights in bothe sides. I also agree with you that having the shadow side of the face near the camera will be more appealing. Because its a new project and right now i'm just testing and about to make a short pilot I will try to cange the set so that it would fit my needs, and than try lighting from the opposite side. thanks mosh

hello i'm shooting a few intreviews in a small room (10X8 ft) there is a table in the middle of the room and the two people are sitting in both sides of the table one infront of the other. i'm shooting with two panasonic dvx100 (one for each person) and i have two fersnel kits (650w,300w,150w) and a some open face 800W + chimerawhich i prefer not to use becuse it will spill a lot of unwanted light all over the room. because the room is very small i'm having trouble lighting the characters with out having strong shadows in their eyes, when ever i will lower the light i will get a shadow on the wall behind it. i've tried using some foamcore to bounce light from benith but it looks unreal. i would like to hear any good ideals on how the get good light with as few shadows as possible. thanks mosh

hello i'm shooting a music video and most of it is a band singing on a stage in a dark night club. i want to make a few of the close up's colurful with some unfocused flare dots and other shapes in the forground, i have never done this before so i have a few questions: 1. what kind of filters (or mabye behind the lens nets) can help me control the shape and size of the flares. 2. what kind of light would be best to use for flares (i thought of using 1K par 64 or 100w pin spots). 3. can i get flare dots without seeing the projector itself. i will be doing some tests in the next few weeks and i would like to hear any suggestions. thanks mosh

hello wer'e shooting a video clip with a dsr 570 and in one of the scenes we have a T.V. that is on and suppose to light one of the characters in changing lights obviously the real t.v. light isn't enough so i would like to make it stronger and more accurate to light my character. my lighting set is: 1 4 ft kino flo (tan light) 2 1K fersnel 2 650W fersnel 2 300W fersnel 3 pin spots 1 mini broot 2 par 64 2 large foamcore panels i was thinking of using the kino to create the effect but i'm not sure about it. if u have any ideals i would like to hear them. thanks mosh

Hello. I will be a gaffer in a short film in super 16 mm next week, one of the scenes takes place in a large living room which has a big window in one side (it's about 10 X 10 ft), the d.o.p would like two burn this window but not too much, just to get a big light wall, he also want it to look like the diffusion I'm using is on or close to the window and not far away from it. I can not use white diffusion on the windows because each side of the window is more than 4 ft and I wouldn't want to have lines on the windows (like when you put two white diff. next to each other you get a very small line of light) and also it's expansive and it's a low budget production. I also thought about using a 12X12 ft silk 1/4 or 1/2 and put it behind the window - but now I'm worried about seeing what's in between the window and the silk frame. p.s. I'm lighting it with a few baby 2k or blondies and maybe they will be bounced. Do you have any suggestions for this scene, or maybe you know of a different material for getting this affect, maybe something cheaper and bigger then a 4 ft white diffusion. I would appreciate your help Mosh