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Found 3 results

  1. Hey there! Right now I am prepping a shoot that has a scene in a snowy winter forest. Originally the budget was available to really light a large section of the forest up with artificial moonlight and call it a day. But now, the shoot has been broken up into 2 units shooting all the snow exteriors on location for a fraction of the budget (Just a little bigger than skeleton crew) and then all the interiors on a stage in a city that has more production resources for that can work with the budget. The project is a dark/horror theme with vampires in the forest about to bite a deservin
  2. Hello all, I'm not familiar with this forum's etiquette, so please feel free to correct me if starting a new thread is unnecessary. I thought I would start a dedicated thread for this topic, as I previously commented on another member's post and not all of my thoughts/questions were germane to her/his native post. So, please forgive any repeated thoughts! I have a few questions regarding shooting on 7222. Throughout my searches, I've been observing mixed responses in regards to how problematic the lack of rem-jet backing on the film is for shooting on the SR3. Some say that the reflective
  3. Hi everyone, Very soon I'll be shooting a western short in the desert, mostly with HMI's, ultra bounce, and unbleached mus. My question to everyone is, will the warm color of the sand lower the overall color temperature of my daylight. I know we conventionally rate "daylight" between 5200k & 5600k. Right now I'm a thinking that the HMI's will appear too cool for day exteriors. Maybe the smartest thing to do is work with 4x4 mirrors and simplify things? Also, I'm contemplating using kerosene lamps and small tungsten units on flicker boxes for interiors. If anyone has experience shooting i
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