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  1. Okay I have basic skills with a light meter, I can operate a film cameras and Dslrs and so on. My questions is this. Say Im sat in a park doing a shot of two people sat on a bench, The weather is sunny with clouds and in the golden hour so not directly above, They are sat in partial shade and I will be using a reflector to bounce some soft fill. Do I take an incident reading from my actors faces and use that reading for my F stop Would this effect the exposure of the sky. As much as I have searched I have not found a decent tutorial anywhere that doesn't include Lighting, Seeing as I have access to reflectors only these don't really answer my questions. I ask mainly as I don't want to waste a ton of film before I get half a grip of what light Im putting in the camera. Sorry if there is a thread on this already. Im probably over confusing my brain. many thanks in advance
  2. I'm shooting a night time scene with 2 characters talking inside a car. The car is parked, the windows are wet from a recent rain (but it's not raining anymore). I'm looking for tips and advices for enhancing the water drops. Here is a screen grab from tests I've shot on a 5D a couple of days ago in a studio (we're gonna shoot on location for the actual shoot, with a RED One) with the kind of lighting atmosphere I'm planning to do. No one was really in charge of the rain drops for this test, so we just splashed water on the window before shooting. My first question is about the best solution for spraying water on the windows. I was actually thinking of using a water sprayer filled with a mix of water and glycerine (like we usually use for sweat on faces). Any other idea or advices for the best mix to put in the tank ? My second question is about lighting those drops. I know that you don't actually light raindrops as they are transparent, you just need them to register an image as they act like a lens. I don't want to have a very lit background (probably a bit darker than the test shot) to keep the drops brighter than the background itself. My idea was to shine light on a large muslim sheet (or a kino 1 bank) placed low behind the car, so it doesn't affect my lighting and contrast inside the car and create a white line on the top of the drops so they exist on this dark background. I guess they will probably also register the lights I use for lighting the characters. Am I on the right track ? I'd love to also add some colour bokeh with a small fixture far away in the background. What kind of source would you use for that ? The director wants to place the car close from a (white :blink: ) house wall, I'm pushing to place it further so we have more depth in the back and we can isolate the 2 characters in the image. Any advice or comment on my ideas are more than welcome ;) Thanks
  3. Hi everyone Sorry if this is in the wrong section but I'm real new to forums. I have a krasnogorsk k3 and I understand the onboard light meter is not to be trusted. I have looked at many light meters but they all seam far to advanced for my needs I know at 24 frames per second the shutter speed is 1/60th So I only really need to know the f stop right ? So my question is is there a light meter you can recommend that Perhaps any of you use ? Many thanks in advance, Cheers Dave from the uk (It always rains here)
  4. People talk about soft and hard light but really it is just a gradation between them. How does one measure the hardness of light falling on the subject as opposed to the hardness of the source? Clearly hardness of the source would be measured by calculating the angle between the distance of the source and the size of the source. So the sun would be the Tan-1(Sun Height / Sun Distance) = 0.53 degrees i.e. extremely sharp. A blonde with reflectors 0.1m diameter positioned about 5 meters away from subject would be Tan^-1 (0.1/5) = 1.14 degrees i.e very sharp. A softbox 2m high and 2m from subject would be Tan^-1 (2/2) = 45 degrees i.e. soft However when there are obstacles or diffussion in the way the actual hardness of light falling on the subject is different - so how does one measure this? In some instances the diffuser or diffusion becomes the new source - e.g. a tweenie bounced off a muslin - the muslin is now the source if the muslin is 2 meters away from the subject and 2m high the light falling on the subject now has a hardness of 45 degrees (i.e. soft). But when the sun becomes diffused by haze, mist, fog, cloud covering, etc. the effective sharpness of the shadows surely changes - until it is overcast and then the angle of hardness is 180 degrees - totally diffused and no shadows. I was walking in the countryside on Sunday and the lighting was beautiful. Something I would like to replicate. It was overcast, not heavy overcast and a low sun was diffused through some more whispy clouds. So I took out my Lee swatchbook and observed the colours that surrounded me. I measured the angle at 10 degress, and the shadows to be about 4-5 shows darker than the highlights. But I had no idea how to measure the hardness of the shadows. The clouds were diffusing the sunlight and a rough guess would be 80% if 100% is a perfect sharp line. I presuming the sharpness of the sun is less in winter than in July due to travelling at a lower angle, and hence more diffusion through the atmosphere. Is there a tool for such a thing? Is there a known chart for the hardness of sunlight under various conditions - i.e. December vs July. Does the sharpness actually change between winter and summer due to a lower trajectory and more atmosphere to travel through or only intensities?
  5. Full disclosure: I work for Dracast in San Jose, CA. We started a 50% off clearance sale on some of our studio LED lighting for Black Friday and Cyber Monday. The promotion went so well that we're continuing it through December. You can find our discounted products here: http://dracast.com/december-specials.html Happy Holidays!
  6. Hello, Here i would like to clear some questions raised before starting a new project.. as i shared my equipment i have and the question how to use them for better result.. I am now doing a job for the first time on DSLR and have so many questions and need all the help you all can provide. The gear available to me: 5d3, 1dx Zeiss 14, Zeiss 35, Zeiss 135 (on its way) Fluid head tripod. Lexar 1000x 32gb UDMA 7 card A three year old Imac for editing. Nature of job and crew: I will be going to small villages and shoot lifestyles of people as artistically as I can. I will shoot lots of interviews with audio. I have a focus puller and lighting assistant. I want efficient frill free equipment set up that does the job. However, keeping gear light is not the first requirement, getting professional output is. The edited videos will be viewed mostly on internet and at times projected on a mid size screen. My questions: 1. Do I need another monitor besides the LCD on the camera to check focus etc? 2. Which is the best slider for price for DSLR? 3. Which is the best way to record audio? Do I record on camera or external recorder and sync using a slate? I have a BeachTek DXA-SLR available for free. Is it any good? 4. Should I use Magic Lantern software or original Canon RAW? If magic lantern, then which version? 5. What is the ideal ISO for video? And if not ideal, what is the acceptable range for noise free work. 6. Is 1/50 the only shutter speed to work at or it does not matter? 7. Will my Imac be ok for the edit? I will not buy an Imac now until it is refreshed, but just want to prepare myself on the speed of edit. Thank you!
  7. Hi Everybody, I'm shooting some of Pro8mm's Ektachrome 100D on my Canon 514 XL-S. My question is about the daylight/tungsten filter. I've heard from almost all people that I need to have the filter switched to the lightbulb tungsten setting. As counterinuitive as it seems, I've heard that it actually correectly exposes the Ektachrome that way. I just want to be positive about this, and would really appreciate any personal experience shooting on Pro8's stock on this camera. Thank you!
  8. Hi, does anybody know if 35mm x2 anamorphic primes can be used with the Ikonoskop. Like the Lomo PL- anamorphic prime lenses for example? I know I'll need to pillar box. x1.33 or x1.5 hawk anamorphics aren't easily found in my country.
  9. Hello, hoping someone out there can help me. I'm looking for the name or brand of soft light I once saw being used on a shoot. The light is a small 150w or 100w Soft 'ZIP Light' style fixture with an egg crate on the front. I'm looking to use it as a handy little eye light for a scene I'm doing next week. Has anyone ever heard of this light? Can't find one anywhere on the internet. Thanks, Ian
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