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Found 13 results

  1. Hi, Does anyone knows how to expose this film in the two configuration mentionned ? is it possible to have good result in low light by pushing in development ? (any experience with that ?) I am opened to any tips regarding reversal film treatment as a 1st AC (conservation, use and elese ...) For upcoming projects, i am wondering how it would look like. The first one is a low light / hangar / industrial environment with light coming from a dancefloor with 5 people on it (the aim would be to have color effect / aberration and dynamism like in the 'domino' movie, the dancefloo
  2. Hi everyone, thanks for looking through and the advice ahead of time. I have a shoot fast approaching and I'm debating the best way to light my exterior scene for an upcoming commercial. We will begin shooting early morning and we will see a family enter an amusement park from one angle where the sun is backlighting them - and then we will need to reverse the camera to see their POV. It will be a very sunny day I'm sure with no clouds so we should get some nice backlight. I'm debating however whether to front lit with a large ultra bounce (20x20 or 12x12) using the sun to light the family
  3. Im scouting for a film now where one of the main locations is very dense forest with a solid canopy. The undergrowth is green, the leaves are green, the moss is green, the light even feels green. The tree trunks have very little character and are skinny. I do have a fogger setup and it has tested well- so at least I can bring areas out from what looks like an infinity of skinny trees and greenness. The sun is almost nonexistent, save for some very small dappled beams. My question to you is how can I bring the characters out- especially in the wider shots -without it looking lit or fake? Ill us
  4. Hi guys! Okay so I have a shoot coming very soon. One particular scene is in a garden at night, with friends around a table eating & in conversation. Its gonna be 10/12 seconds in the final video. So I want to put up hanging lights between 3 palm trees in the location with the characters underneath the lights. I tried looking in to research for other DP's who have done this look quite nicely. Deakins in Sicario I found he used 40 watt bulbs and there is quite a lot of them (plus light bouncing back down off the ceiling). Here is an image for reference: So here is now my location.
  5. Hey all! Newer to the forums here. I'm shooting a senior thesis project coming up next weekend, and like any student project I'm trying to always up my game to the next level. We're shooting a lot of daylight exteriors, and I plan on setting up a lot of 10x's with diff to just get some more control of the light and to keep it consistently soft on close ups. My understanding of the workflow between G&E is still growing, and I was wondering what the gaffers role would be on a daylight exterior scene? It feels to me more like we would only need a KG on a day that we're just fla
  6. Hello all, this is my first post here and I really need some advice on how to go about that! I have a project coming up which involves interior and exterior shots. My main concern is lighting the outdoors night scenes. The scene involves two actors having a dialogue while they go about dumping a body in a car. This takes place at night. Mood: Dark as possible - its is a murder after all, mysterious. The only source of light is kind of a Sodium Light high up on the wall next to them which is pretty strong if they stand on its range. (and some other lights in the distant background
  7. Good day, For a low budget short I will have many day exterior scenes (in moving and parked car and on the street) where I initially thought using only scrims, reflectors and negative fill, because I was afraid adding light would slow us down too much. But we are in winter and being in the mountains the weather (and light) can change very dramaticaly in very little time so I thought that if I took only one single but very powerful artificial source it could not slow us down so much and would up the results noteably. I figure a 6 or 8K would fit every shot (as I can always bring
  8. Hi, I have a couple of questions that I'd greatly appreciate any help or advice with regarding shooting with natural light. For an upcoming shoot, one of the scenes written is set on a beach and involves a simple conversation between two characters. The director would like it to be shot in overcast weather - he'd like it to look grey, miserable and "flat", but in an aesthetically pleasing (cinematic?) way. I'm concerned that shooting in overcast weather won't look good, and would love anyones input on how to go about this, or examples of films that have managed it well? The area I
  9. Starting a feature this week and the director wants a very "yellow springtime" look to our lighting. Mostly the highlights. Attached is a photo and isn't the best because the female is blonde as is probably natural backlight but this is the the rough tone. So my question is: to get that warm almost sunset color without getting too red/orange, has anybody played with more yellow color correction on daylight lit scenes? So on our HMI's instead of adding CTS or CTO for a little end of day glow playing more with yellows. I've but aside (from LEE) 100 Spring Yellow 767 Oklahoma Yellow
  10. Hey everyone, new member here :) I have a few night night exterior scenes at a high school football field. Guy/girl sneak onto the field, at at some point ends up proposing to her. We want to use the existing stadium lights "only" look. Of course I'll add some units on the floor to do the talent justice (end of the film/ romantic) but I was wondering if anyone has worked with just existing stadium lights as the primary source? Seems pretty straight forward but was curious about people's experience/ any issues with these types of lights. Attached is a photo not of the actual locatio
  11. I am DPing a music video in the near future that will be shot entirely at night in a forest. The concept is to have an industrial yet gothic feeling rave taking place in the forest with numerous people dancing and milling around. We are going for a very abstract and neon look, reminiscent of "Only God Forgives". Saturated colours are important and it's not important to have a sense of realism with moonlight or anything. I am hoping to light the scenes with Arri M18 1800W HMIs and KinoFlo 4 banks as well as various practicals in the form of industrial fluorescent lights and festoon lights.
  12. Hey guys, I'm looking for a bit of advice, stock-wise. We're shooting the first ten minutes of our feature film this month and unfortunately my DP is as unfamiliar with film as I am. For outdoor scenes, I'm looking into the KODAK Vision 3 250D. One shot in particular, we transition from the roof of our building to the inside of our apartment. I dug up an article on Fuji's old 250. The tester claimed it would work very well under such a transition. I'm assuming that Kodak can achieve the same result? http://www.fujifilm.com/products/motion_picture/lineup/eterna_vivid250d/demo/ w
  13. Hi, I'm going to shoot a mini-documentary divied in 2 scenes. I think I will use quartz lights: 1x 1K, 2x 650 (Lilliput). 1) the first scene is an interior/day on a irish pub. the shot is a medium close shot and a medium close up (like an interview). I would like to mix a daylight coming from the open door, the practicals light, and a backlight to separate the subject. How can I simulate a daylight with a quartz (I guess the natural light is not enough, the pub is pretty dark)? I'd use the 1k outside and near to the door, gel it with ful CTB (so it's 5500) and a frost to get a soft
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