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  1. Hi everyone. I'm looking for advice on lighting interviews with a tiny crew (2-3 people) out at sea on a small 30-40ft boats. I'm frequently booked on these gigs but I find that 99% of the time I never dig the look of the interviews. It's always a matter of finding what looks the least bad. For most EXTs (on land) I'll backlight and try to shoot into a BG that's in the shadows...but of course on a boat there aren't any shadowed BG's, except maybe a tiny part of the deck. Most times we end up settling for front lighting the subject and holding a foldable silk to diffuse the light a bit, but even then the BG is well over key. At least that way the talent and BG are both reading okay to camera. It also doesn't help that typically the entire boat is painted a hot white and constantly rotating in relation to the sun because of heavy winds. Sometimes I shoot up in the pilothouse but that's proved the most difficult- even after ND'ing the windows I can't get nearly enough level on talent without blinding them. Are there any general best practices for this type of lighting?
  2. https://www.youtube.com/watch?v=olwYxXWHBz8 This is a scene from Peaky Blinders and I'm interested to find out what lighting techniques they have used to achieve this look and possibly what equipment and practicals have been put in place for the contrast lighting shown. Did they use a haze machine?
  3. Hi Everyone, I'm moving to South America in May and the time has come for me to purge items I simply can't take with me and/or never use. I'm sure many of you know this is painful. But there is no sense in me keeping these items in storage. I've tried to price them as low as I can to get rid of them quickly. There is some wiggle room for some of the more expensive items. Deals can be made if buying several items. I use Stripe for payments which accepts most credit cards. I do have some of these items on Etsy as well for those who feel more comfortable using it to pay. $900: First thing I'd like to see go to a good home is my Arriflex 16SR. I bought it to shoot a film noir but couldn't raise the budget and can't take it with me so it's for sale. It works fine and it works great with the blimp below. I bought this used from a dealer. The viewfinder is clear with no yellowing. The camera runs smoothly. This camera package comes with: 1 - Arriflex SR16 16mm motion picture camera 1- Eyepiece with eye cup 2 - 400' cartridges 1 - Battery Adapter 1 - Power cable 1 - Power adapter for plugging the camera into an outlet NO LENSES ARE INCLUDED. $900: If you have an Arriflex 16SR, you'll love this awesome sound blimp! You can't hear the motor at all once your Arriflex is in this beast. This item may possibly have to ship via Amtrak for the best shipping price. I shipped a Tuba that way and it only cost about $60 so I would imagine this would be cheaper. It's extremely heavy so you'll have to use it on a heavy duty tripod (I have some of them for sale too). When the camera is inside, you plug in the wires and you are able to completely control the camera from the buttons on the outside of the blimp. $600: Custom Bolex Rex 4 Sound Blimp. - Rare blimp but can't take it with me. It makes the Rex 4 ultra silent indeed. It's really heavy so it may be beneficial to ship via Amtrak. $400: Tobin Crystal Sync Motor for Bolexes - I only used this motor once on my Bolex Rex 5 and it works great! $80: Canon 514 xl-s with Case and Microphone - This camera comes with the original case (see condition in photo) and the original microphone. NOTE: Although this is a sound camera, sound film for this camera is no longer available. You can use this camera with modern Super8 films. With batteries inserted, the motor runs smoothly and the battery check works. This camera is untested with film and is being sold as-is.
  4. Here’s another list! http://www.ilovefilmmaking.com/beautiful-movie-shots/ Sometimes they’re fun. :) I thought it might be interesting to post it here.
  5. Hello group, Just got my Sekonic L 398 A. The classic external light meter. I am browsing the web for weeks on external light metering and all I see is people measuring the incidental light with the white dome, pointing at the camera (hmmm....). That's all fine but I couldn't find anything about different methods - for example: landscapes, complex lighting with fill lights/reflectors, back lights, sunsets, beach scenes during sun set with complex lighting (light bouncing off the rocks, people moving, sun just out of the frame, etc.). Way too much "information" about staged, posed or studio situations in stills photography (a lot of it seems dead wrong BTW!) and way too few about cinematography where things are moving and one needs to decide what is the most important area (or find a good average exposure - I know: on neg film blown highlights are not as bad as crushed shadows, reversal is unforgiving on both sides....). I won't use the camera's internal meter at all (which will be way off anyway). So how do I measure the incoming (reflected) light and use some common sense (such as making up a stop or two for the sun, snow, exterior light coming through windows, the usual drill...). Do I hold the light meter with the white disc (instead of the dome) in front of my lens - to emulate an internal meter? Do I screw on the grid which also comes with the light meter? Any input where to get reliable and comprehensive/complete information (I'll study and learn - and practice, but obviously not right away on expensive, rare film stock, waiting for it to return!) highly appreciated. Christian
  6. Hi everybody, sorry for my bad english but I'm italian guy, I hope you understand. I have some questions on these two reference I have an my idea but I would to be sure and I ask for your experience. Frame 01 What kind and how many lights should I use for this shot? How I can do that "cyan effect" on background? What is the best white balance setting in camera? Frame 02 How many lights should I use for this shot? In your opinion, there is a "real flare" or it is made in post-production? Thanks a lot F.
  7. Hello Cinema Community! I have a music video client who would like psychedelic images in her music video: Options include fractals, light prism effects, kaleidoscopic imagery etc. I am curious, is anyone aware of practical solutions to achieving an end result similar to what I listed above? I realize that I could achieve much of this via a program like After Effects; however, I am curious if doing something like this practically would produce something more organic. If anyone has any experience with this, it would be great to know what methods you used, in addition to seeing visual references of the end result. Lastly, this project is on a shoe string budget!
  8. In most of my filmmaking experience I've always just used natural light or whatever lights happen to be nearby when on a certain location such as a lamp or whatever. I want to screw around more with different types of lighting but I have a question. Let's say I buy a light that is strictly for filmmaking or photography and I use that in a scene. But, there is natural sun light shining in through the window. Can I use two different types of a light in a scene? Would it affect it somehow?
  9. LONDON (Nov. 13, 2015) – Panalux, the leading provider of lighting rental equipment for film, television, and media production, will display their latest LED lighting at the 23rd edition of Camerimage, the international festival of the art of cinematography, being held November 14-21, in Bydgoszcz, Poland. Together with Panavision and Lee Filters, Panalux will showcase their popular, proprietary products, including the HiLo, Tektile2, NessLED kit, and a soon-to-be-released spring ball light. Also on display will be the new Panalux LED Flex Light, an extremely versatile light that offers a variety of possibilities and configurations and has proven to be extremely popular with gaffers. Additionally, Panalux will support the Panavision Cinematography Workshop on November 19 by providing various Panalux lighting equipment to Markus Förderer, Eduard Grau, AEC and Ellen Kuras, ASC, who are shooting scenes to compare spherical, anamorphic and larger sensor formats. For more information, visit www.panalux.biz
  10. Hi, I'm new to the forum, so I'm sure that my question -- in typical "noob" fashion -- will be an obvious one; I'll ask it, nonetheless. As a young, aspiring cinematographer, I was recently advised by an experienced DoP to invest in a light meter, which I have done. I've found, however, that my readings will differ between incident and spot; the former tending to have my exposure higher than the latter. I know the difference between incident and reflected light, but am I incorrect to presume that the readings should be the same regardless? Or, am I in fact taking the readings wrongs all together? For spot metering, I will stand where my camera is and aim at the subject's face. For incident metering, I will place the meter in front of the subject, with the lumisphere facing my light source: in the provided example, the light was to the left of the subject's (my mother) face. So, I'm just looking for a bit of feedback regarding my metering techniques. What's the better option? Where should I be aiming the lumisphere when taking a reading? Where should I be aiming the spot? Thank you in advanced, Thomas.
  11. Hi guys, I wanted to find out what techniques people are using to combat/harness overhead light. I've got a scene coming up where there's a bunch of fluorescent fixtures in the ceiling (the only motivation for light in the location) so I'd like to use it as the main source but keep it fairly low-key with nice shaping to the faces. In my previous experience I've found it difficult to achieve a flattering look on the talent (such as the attached image from Skyfall - which works well for the scene but is what I'm trying to avoid). Are there any techniques you employ in your own work to avoid overly shadowy eyes? I thought Rodrigo Prieto's work in Wolf of Wall Street (image attached) was really well handled as there's a nice shaping of light on the faces in what would otherwise be quite a flat looking environment with banks of fluorescents in the ceiling of an office - would he have employed additional lamps from lower angles in conjunction with the practical lights in the ceiling to create a pleasing lighting contrast to the faces? There are a few ideas I've already experimented with such as softening the overhead light with diffusion - which I like but, again, still gives pools of shadow under the eyes. Bouncing the light from below with reflectors softens the contrast of overhead lighting but always feels like an additional source coming from an angle which doesn't feel natural? Maybe I need to be more subtle.. What techniques do you recommend/use in every day situations? I'd be interested to hear advice for all manner of situations (low key, high key, dramatic, experimental, etc). I love Robert Richardson's top-light look but I'd like to avoid this style in favour of a softer, more natural feel for my upcoming project. Thanks in advance! - James.
  12. Hey everyone, So for this low budget commercial I'm shooting, I'd really love to have a stronger light at a distance to get a "shafts of light through window" gag with haze. It's just not in our budget so I'm trying to find the best way to get a large parallel beam into a small space (the room is only 15'x19') and I feel like the M18 could be a way to do this. I'd also consider using a Joker Leko setup but I'm just afraid it won't produce as large or powerful of a beam as the M18. Arri describes the M18 as having the best aspects of a par and fresnel - personally I love this light and I've been able to produce some venetian blind gags in small spaces with it before. I know an ordinary par wouldn't work at such a close distance. My question is, do you think the beam of the M18 is parallel enough to make a gag like this? Thank you, Chris
  13. Hello All, I finally posted my pics and favorites I saw at the NAB on my lighting website under lighting news that you all might find of interest. http://www.lightingforcinematography.com/lighting-news/ There were some really great new lights announced and some true game changers. Only time will tell what lasts. But they are all great new tools for those of us that paint with light.
  14. Hey all, I'm shooting a piece in a few weeks set in an ice rink with one figure skater. The Director would like focused, but very soft light on a space within the rink (I'm thinking a 20' by 20') with the background almost void of detail. I found this reference that she liked: My initial reaction was rig up a wall of 60° angled 750W Lekos with large diffusion, used and loved by Shane Hurlbut for stage-like lighting. I really like the idea of shaping ellipsoidal light. I know there are probably umpteen ways to do it. What are your thoughts? With deep appreciation, Jon
  15. Hello everybody. It's my first post on lighting here on Cinematography.com I'm looking for a lighting kit to use with my Black magic Pocket Cam and 16mm lenses, that could be affordable, compact, and produce good results. Artificial Lighting is not my strong on Cinematography, I normally improvise with natural light, and have used an Arri Red kit before. Loved the results. I know there's a difference between fluorescent, incandescent and LED... though what would be a good choice in the case of using for small productions? When it comes to buy, its worth ask around for those who understand before go to BH Photo. Please let me know your suggestions. And thanks in advance. Thanks, Flavio
  16. I was about to rent HMI Lighting (day light) for one of my shoot. I was told that HMI lighting can be used only with crystal cameras. What is crystal camera? I goggled it and couldn't get anything that are explained in layman terms. We are shooting in Canon 5D Mark II and Sony PMW-EX3 cameras. Thanks
  17. During a couple of recent broadcasts, notably "Peter Pan" on NBC, I've noticed some pretty vivid fluorescing from the teeth of the talent. It was most vivid on the actor who played Peter Pan and was even mentioned by a couple of the TV critics. I've also seen the whites of eyes doing it as well. Do we know what causes this to happen? Is it an effect that is being used incorrectly? Is it something to do with the latest generation of camera sensors? Is it lighting related? Is it a chemical thing—something in the teeth whiteners or tooth veneers that is causing this? Is it only with broadcast-style cameras? And, of course, Is there a way to avoid it? Thanks
  18. Hi guys, Been following the forum for ages but never actually managed to ask anything so here it is. I was given the opportunity to light and shoot a small online promo for a new water company about their flavoured water. The moto basically is "water with a twist". You know Children find water boring. But it’s good for them. They expect coke, sprite, orange juice, squash ... anything but Hate2O! I have never shot a commercial/promo with kids and never ever lit for a classic high key, bright white commercial look that you can find all the time when promoting a new yogurt, or food, or etc. mainly kitchen based shoots. And yeah most of our shoot will be kitchen and lounge/dinning area based. Children putting water aside, drinking it and making weird face, until they get the new "flavoured water" and boom they love it and wanna drink more, etc, etc. These are the possible locations but I still havent decided on which to choose from. http://www.locationworks.com/private.php?page=15852&location=1 On the left side you can view like 26 houses. Not sure if having huge big windows will work or not in my favour. Its winter and sunset in the UK is at 3.45pm... not sure which one to choose from yet. maybe small windows will not be ideal but having those bigger windows will work against me as well. I was planning on using book light technique for this promo. if you guys have any tips on how to best light an high key kitchen promo or have any tips from previous shoots please do shout. I want to avoid making it look flat and boring, which i know its easy to achieve when trying a high key style shoot. I wanted to make it look light and airy. Cheers for your help Pedro Lighting camera op
  19. Hi. Im trying to emulate the yellow light used in many resent movies. Im having a really hard time, im shooting on a blackmagic pocket cam. My light usually tuns out orange or brownish, but im really loving the yellow light. Some help please :) ?
  20. Hey all, I've been itching to find a good solution for easy transportation of my gels, and keeping them organized by color and strength. I was leaning torward precutting the gels into squares (the biggest light we have in house in an Arri 1k, so I would cut to those dimensions), and having them in thick book, and then I could put dividers in for the names. Right now I've got them rolled up in a bag then don't completely fit into, and there's no quick reference for the strength of which gel. Let me know if this is a dumb idea and/or if there's better, more professional solutions. Thanks!
  21. Hey guys, Part of the storyboard I've been given for a client requires a light bulb to be blown up. It's for an electrical engineering company. What is the best way to do this? Using a high frame rate would look best. Would it be better to see if a VFX company can achieve this? Or is hiring a high frame rate camera + hiring specific crew for the shoot a better option? Thanks in advance, Jordan W
  22. Hey there, having a hard time deciding on one of these spot meters. Would love to hear your thoughts/experiences as I'm planning to get my first SM, using it on a few upcoming film projects. Thanks for your advice!
  23. Hi everybody, Here I am with my rookie questions, I just want to know what kind of light is used here as fill light? and what temperature does it have? is the greenish color because they used a Gel or its WB trick, or Color graded in post ? screenshot from Ridley scotts' Kingdom of Heaven 2005
  24. I am looking for a cinematographer. I am filming a pilot episode for my short drama next week Monday and Tuesday in Watford (UK) and next week Friday in Middlesex Hendon (UK). Then the following week beginning the 21st we plan on filming episode 2. We have a few independent production companies interested in this drama. Would you be available? Do you have your own equipment? For more information email me at jevan_buckley@hotmail.co.uk Thank you Jevan
  25. Looking for an iPhone/iPad mobile app that can give me relatively accurate spot color temperature metering. Any good ones out there? Which ones do you use?
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