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  1. Below is a link to stills from a recent film I worked on as DP. The film is a comedic coming-of-age type film It was shot on the Arri Alexa with Zeiss CP.2 lenses. Primarily lit with Skypanel S60s and Arrisun 1.2k HMI Let me know what you think! https://imgur.com/a/6sAQyL3
  2. This topic seems to appear in this forum every year or so but I've not quite found a definitive answer for myself. Since full on production does not seem to be coming back too soon I thought it would be a great time to think about optimizing. Some people seem to not do any diagrams at all, some jot them down crudely on a piece of paper, some use Shot Designer or some sort of drawing app (OmniGraffle and Illustrator seem to be the options of choice). For really specific setups or on big shows Vectorworks seems to be a great option. If you need to do pre-vis as well, Maxon Cinema 4D might be a great choice. I've tried most of them and it seems that there's always a tradeoff between specificity and the time it takes to create the drawing. When you go into the 3D realm, there's a steep learning curve and it feels like this should be somebody else’s job. In 2D most options seem to lack rigor; I've had gaffers ask me "What's the yellow circle with two lines?" (the symbol for female in Shot Designer). Plus, there seems to be no way to import an architectural plan or dimensional drawing of the location properly. At the moment I'm using Photoshop, for which I've created about 400 scaled assets (10cm=1m / 4"=4') based on manufacturer's dimensional drawings. It can be a bit clunky at times but it saves me a lot of guesswork in cramped locations trying to figure out if something will fit. I'm trying to figure out what people are using in what types of productions and for what reasons. I'm thinking of developing an universal Web App that bridges the gap between sketch and technical drawing. Besides neat and slightly compulsive diagram creation, I'm looking to hear what other features people might want for a 2D lighting planning app. At the moment I'm thinking of the fallowing tricks: · Open Source Database · Generates basic kit lists based on items used · Basic photometric information in SI and US Customary Units · Calculates total maximum power draw of setup for either 110V or 220V · Calculates camera field of view based on sensor size and focal length. I’m attaching a basic diagram I’ve created with my assets, I’d love to hear what everyone thinks about the style and specificity. I’d also like to hear if this a non-issue and if I’m just over-analyzing with all of this time on my hands 😊)
  3. Very Long shot: Free Silhouette Light with stand. Rank Strand folding brace strand. Fairly huge, unknown condition. Presently in the trash. You would need to get here with transport before it goes. Otherwise a great opportunity to get a lighting fixture and stand. If you get here and its gone I cant magic it back so its a matter of acting fast.
  4. I recently shot a superhero film and was looking for feedback on the lighting/camerawork When filming, I was going for the style of something like "The Boys" more of a gritty look. Let me know if you think it works or if there's anything that could've made it better. https://imgur.com/a/xKSn29I Specs for those interested: Lit with: Arri Skypanels s60-c Arrisun 1.2K 8x8 Silk Frame Shot on: RED Weapon 8K
  5. I will be shooting some scenes in a living room with frosted windows. When I checked how the living room looks like with my camera, the frosted windows result in overblown highlights. The director wants the scene to look like this: I plan to light the room from lights outside through the windows and to lessen the brightness of the frosted windows I'm thinking of putting ND gels over them but I'm not sure if that will help because I will still be lighting through them. Is there a better solution for this? Should I just lessen the overall exposure of the scene with the camera and compensate with another light inside the room (which I will still be adding anyway). I hope my questions make sense. Thank you in advance 🙂
  6. Hi, I just have a question about the flourescent-type lights used in the underground bunker scene in Parasite. They give off this greenish cast or tint in the shot and I’m wondering if that’s the color of the lamp itself or was it given a greenish cast by adjusting the color temperature in camera or was it given that color through color grading? I plan to incorporate these type of lighting as accents for a small hideout room scene for a short film. The room is going to be lit through a window (a window with a black screen, not glass) and exhaust fan. I plan to haze it with a haze machine to make it look dusty and dingy and to make the light rays from the light outside pop. That’s why I’m hoping I could get the green effect from the light itself so the color temp of the practical light is distinct from the light rays of the “sunset light” outside which is supposed to look warm. Maybe I could get the similar greenish tint effect with a specific tube-type light or a flourescent light that gives off this color. Basically, the shot is supposed to be a combination of the shot above from Parasite with this two shots from Cure:
  7. How to replicate sunlight with Artificial lights? How to control it? Which type of lights are mostly used for this? Please suggest.
  8. ARRI Studio Ceramic 250 Hi Guys I am interested to hear peoples opinions on this light it sounds like something that would be very handy to have in my kit. It seems to have a built in ballast and the bulbs can be swopped between a tungsten 3300k bulb to a hmi type bulb with a 5500k temperature. They power usage is 250 watts and has a light output the equivalent of a 1k tungsten. They sound to have a lot versatility and they run cooler temp wise. But am i missing something here. Why are these not that popular, fair enough they are an older light fitting buti have never seen one of these on set or in any hire houses? The CRI is 90 is this the reason. I d love to hear opinions on this light the pros and the cons off anyone who has used them. I am considering buying one but dont have any where to hire it from to test one first.
  9. Hello folks, I am currently trying to source hmi plugs for my strand 2500 watt and 1200 watt magnetic ballast lights. (2500w)I have bought a ballast and head both strand but the plugs don't screw together they are slightly different. I wanted to swop the plug on the ballast and the header cable to get them working together. And my 1200 watt the plug just broke on the header cable. I am finding it hard to source new ones, and struggling with how to take apart the plugs on the header cables them selfves? And ideas, I am a competent electrician but never had to swop these out before and it's baffling me. I intend fully megar testing each core once I replace them.
  10. Hi everyone. I hope you all are safe and sound. I have an interview set up to take place in a stadium football field. All the lights surrounding the stadium have to be on as they all are turned off and on by a single switch unfortunately . Now I am stuck in 2 minds. I haven't had a chance to light meter the location yet but I the plan to underexpose this by 2-3 stops; then bring in my key on the talent which will then be exposed (something big obviously like a M40 going through diff to compete with those lights). I'm also thinking of covering the talent from each side and front with a 20X20 Blackout to model the light more; potentially 2x M18s on megabooms for backlight. The debate I am having is will the Blackout be needed for both sides or just do 2x favouring one side? Also if I should add the M18's as the backlight or will the stadium lights be sufficient? The whole point for me is to make it as less flat as possible. Please see the idea of my floorplan and some references for the lighting. Once again any advice is appreciated or tips from people who have been in the same filming environment. Cheers!
  11. 👉🏻How do you Light in Layers? (Background/Midground/Foreground) 👉🏻 What all to be careful about lighting up in layers 👉🏻 Is there any rule that can help?
  12. Hello Folks, I am considering investing in some arri skypanels or some cream source vertex 8s I wondered had anyone had any experience with the creamsource vertex 8s, on research they do seem to be a good alternative to a sky panel s60 and a built in ballast and a high IP rating makes them even more attractive. Also they seem to be a hard source to begin with which would be useful as it will give me both hard and soft light options. However they are not available to hire here in Ireland and I have no hands on experience with that brand. So I was looking for people who have experience with them and any feedback on them.
  13. Hope everyone is staying safe. Kindly let me know if this has been discussed before or not suitable for this section. I was going through a blog by one DOP and he had to shoot inside a church . There were two possibilities, one to throw lights from outside or to place them inside and match direction, intensity etc. However, due to budget constraints he couldn’t rig the lights inside and placed them outside. Now in the parallel dolly shot (with windows) every light was visible but as the windows were closed it didn’t look completely unnatural. Coincidentally the director liked that shot and didn’t even care about this. Now my question is how can one avoid this situation when the window will be in frame (let’s say the camera is in eye level) and the light would have to be placed outside that window. Along with avoiding blown out and diffused window frames. Thanks in advance.
  14. So I am trying to achieve and a subtle teal and orange look similar to the image below and I want to do it in-camera as much as I can (obviously it will be enhanced in resolve but I just want to make it as easy for the colourist as possible). Here is my thought process I could shoot at 3200k in-camera and gel windows with CTB, then create some ambient blue fill light in the room by bouncing a CTB gelled light at ceiling, then key my talent with a 3200k source (same kelvin as camera) to create natural looking skin tones. (i would then CTO my tungsten practicals to make them even warmer in camera) For my scene though, the actors move around the room a fair bit, how would one go about keeping skin tones looking natural and making sure there is skin separation from the walls in camera? would I just Hollywood a source that was balanced to what the camera was to key-light my talent? Although, I do want the it be as naturalistic as I can any suggestions or thoughts? I know there are a lot of different ways of tackling this, I am more interested to hear different ways of how people would light this and how to keep skin separation when actors move around room a lot in scene? Thanks! (sourced from reddit, the work is not mine, here is the link to that post; https://www.reddit.com/r/cinematography/comments/kgymng/shot_my_first_spec_ad_let_me_know_what_you_think/?utm_source=share&utm_medium=web2x&context=3 )
  15. Hi, I have been trying to read up on this but it seems I can't find anything. So forgive me if this has been answered before. How do you actually do the “mirror gag” much like I attached here. I know skyfall was big budget, so if the answer is just masking and blue screen I get it, but I do know there are quite a few that has done this practical. C
  16. Hey everyone! I'm looking to light an exterior night scene in the woods, and really want that unrealistic powerful back moonlight look. All of my actors will be keyed by their own lanterns, but I just want to have that moonlight in addition. I came across this scene from Stranger Things season one, shot by Tim Ives, that really resembles the look I'm going for. My question is, does anyone know how this scene was actually lit? I can't tell if it's a single soft source or several sources, and how the characters are not backlit but the fog behind them is. Also, if anyone knows how they would have achieved this color, that almost bluish green look, what kind of gels over what kind of lights. I would greatly appreciate any input on this! Thanks guys!
  17. Dear All, I have been wondering and testing how light stacks and its correlation to light fall off. The term 'stack' is most likely wrong, what I mean by it is when two beams of light overlap does the luminance value say foot candles in this instance add up? It makes sense as for example a maxi brute or other Fays that have several lower wattage lamps such as 1k's or 650's add up to produce a larger output. So for instance if I had several Par64 cans and rigged them in an array in which the distance between fixtures was minimal the total output would be the addition of all the outputs of the par cans combined? However I question this further (reference diagram bellow) in which then if you bounced several sources into the same area of say a frame of ultrabounce. If the beams overlapped would they add together create a more powerful source with therefore less fall off. Putting terms into words is not my strong suit so I have drawn a crude diagram bellow. The tests I have created had mixed results and while practical is good and something I shall test further for a future rig the theory behind it interests me greatly! Please do note nothing on this diagram is accurate from the refraction etc to anything. Just a crude idea.
  18. Hello all! I'm a new member to this forum, I'm an undergrad student in LA and I recently wrapped shooting a new film just last week. One of the scenes I shot took place at an arcade, I was hoping to get feedback from other like-minded artists. What did you like? What are some things you would 've done differently in regards to lighting? If you have questions let me know! I'll be posting more stills in the coming weeks. Thanks. Link to stills https://imgur.com/a/hGzTWI2
  19. What are some of the most common lighting setups a gaffer , new into the job , must be aware of ? Could you share photographs along with each ? For Eg : Lighting up a green screen studio , Day to night & Night to day setups , Interiors with & without windows , Lighting up the same inside a studio , Lighting for different times of the day
  20. Hi everyone, as I'm involved in low budget filmmaking, I'm interested in knowing what I can do lighting wise, when shooting in houses and just using the regular wall plugs, without the gaffer having to do any setup for bigger lights. It's a topic where I feel quite rusty. In the US, I believe your theoretical limit is 120v*15a = 1800W per circuit. In France, we can in theory go up to 230*16 = 3680W. 1/ At the rental place, is this effectively the thresholds that divide lights that come with regular plugs and lights that don't (32A only) ? 2/ Does that mean that some lights (for example a 2.5k) come with a regular plug here but not in the US ? 3/ What are the brightest lights that you know of that can be plugged into regular home wall sockets ? For some reason I have - for France - the 2.5kW HMI, but I don't know all the lights, and I especially don't know how far LEDs have come in the last five years. Given their efficiency, I suppose a 2K (actual, not "equivalent") LED Fresnel would have an amazing output, if that even exists/could exist. 4/ Do you have a set safety "wiggle room" in mind, for example you would remove 20% of these theoretical max output and end up with 1500W in the US and 3000W in France ? Sorry these questions are a bit all over.. Thanks a lot for reading.
  21. I was recently asked to help shoot a few reenactment boxing sequences for a documentary and was wondering if I could pick some of your brains. After studying a few film scenes and actual boxing and MMA events, I think that a fairly strong (but soft?) top light and some harder sources that can dance around the subjects as a back light would be the simplest approach. Since I think this will be done on a 'modest' budget, I thought maybe some 4ft quasars through a magic cloth or silk for the top light, and like source 4s or pars for the back lights. I feel like I might be missing something, but I also do like to keep things simple. Does anyone have any insight on how to light a scene like this, or perhaps any recommendations as far units or approach? Or even references that I could research? So far, I've referenced Ali, Raging Bull and some of the reenactment footage from the Dark Side of the Ring docu-series. Any kind if advice would be greatly appreciated, RC
  22. Hey Everyone I must just be doing something wrong or my lightmeter is wrong but I was testing my 800w open face lights today between a few brands I have and noticed that my own Arrilite 800w Open faces put out considerably less light than what Arri's photometrics says they should? Arrilite 800w at 3ft away pointing directly at the lightmeter dome Recessed inside not out, settings (25fps, 800iso, 180d) 240v Full Flood I got a 340fc , Arri's photometrics say it should be roughly 537fc Full Spot I got a 2200fc, Arri's photometrics say it should be roughly 9871fc Is there something I'm doing wrong? I checked the bulb, Cleaned the dome results are the same I understand photometric arnt 1:1 but mine seem so far off Thanks -Samuel
  23. Hey there everyone! I am a colombian film student and wannabe cinematographer and I am looking for some advise for an upcoming short film me and some classmates are preparing. So I am going to be the DP for this short and in terms of lightning I am looking to have an aesthetic close to the images I attached below for the interior daylight scenes. Logic tells me that to achieve this I should have some strong key lights motivated from the windows on the characters and expose to those bright areas of the face, so everything else will be darker to achieve that high contrast ratio. We´ll probably have like 2 or 3 arri 1000 and maybe like 6 arri 650, it really depends on what the faculty will have available at the time and the budget that production will give us (which will be very, very low). So really I want to have a realistic view of our lightning capabilities with such few lights, can I achieve this look with the lights that are available? If so, what tips can you guys give me to achieve it on an extremely low budget? One of our likely sets is a house with really big windows, so one of the strategies I came up with is partially blocking some windows to control and limit the entrance of light (because it may be too much and spreading everywhere). Am I thinking about this the right way or am I completely off? Thanks in advance!
  24. Hi Guys, Been going through my lenses and looking to rationalise a bit, so I’m selling the following kit: Lenses - All in PL Mount: - Zeiss T1.3 MK2 s16mm Super Speed Lens Set (9.5mm, 12mm, 16mm) - £6’000 gbp obo - Excellent Condition! Optics are Excellent, Mechanics Excellent - Zeiss 135mm T2 Std Speed Prime Lens - £2500 gbp obo - Excellent Condition! Optics are Excellent, Mechanics Excellent - Zeiss LWZ.2 15.5 - 45mm - £6’800 gbp obo - Excellent Condition. Just had a full service by my tech at Arri. Optics are Excellent, Mechanics Excellent - Angenieux T3.9 Zoom 25-250mm - £1’000 gbp obo - Glass is good aside from a ding and some scratches on the front. Will need a shim as doesn't hit infinity currently. - Duclos 11-16mm Zoom - £1100 gbp obo - Excellent Condition Throughout! Optics are Excellent, Mechanics Excellent - Lomo Std Speed Set 7 Lens Set - 18, 22, 28, 35, 50, 75, 135mm - £4’000 gbp obo - Glass generally in very good condition although there is an internal crack in the 18mm (a common issue with these lenses) and some heavy coating marks on the front of the 135mm. Will need a service as some of the iris’ have oil on them. All detailed in the pictures - Cooke 317mm Telepanchro (Not in PL) - £3’500 gbp obo - Optics are Excellent, Mechanics Excellent - Cooke 25-250mm T4 - £4000gbp obo - Optics are Excellent, Mechanics Excellent Prices are + VAT if within the UK Pictures of all Lenses and other Kit Here: https://www.dropbox.com/sh/8o2rodii2u8csz3/AADWh49TXWrj655NyXG93Ilma?dl=0 Lighting: - K5600 Joker-Bug 200 HMI Lighting Kit (Near New Condition) - £1700 gbp obo Accessories Etc: - Having a Massive 'Yard Sale' of old kit also. Feel Free to email / message me direct if there’s anything you’re interested in! Very open to offers and bulk deals on all. https://www.ebay.co.uk/sch/cinelens2020/m.html?item=124257386665&rt=nc&_trksid=p2047675.l2562 Contact me on dp@adametherington.co.uk if interested
  25. Hi guys, Just had this clip pop up in my feed, and I was struck by the key lights in the first section around the card table: https://www.youtube.com/watch?v=Oz8TYyn-k40 Straight-up hard keys. And they look great, almost seamless. I had to actually pause the clip at first to confirm that it was actually hard lighting. I feel like you could use this lighting in any contemporary film and "get away with it" without spoiling the look or feeling incongruous with the soft-lit keys that (these days) shape the vast majority of shots. Indeed, most of Goldeneye is very much soft-lit. Now I know this is Phil "F**king" Méheux's work, and I'm not worthy to smell the ground he cinematographically walks on. But I'd love to hear how people would approach a situation like this. I feel like it's reasonably obvious that the hard lights were simply the only practical way to pick out Bond and Onatopp from the crowd is such a large, and crowded environment (they look about a stop hotter than everyone else, which serves that purpose really nicely. Also, with such a large table, and a lot of top-light providing the general ambience, booming in softer keys for the close-ups would have been obviously time-consuming and a bit problematic. But why do these keys look so smooth and seamless (when others so rarely do)? Is it just a really precise key-to-fill ratio? I'd love to hear people's thoughts. I feel like mastering this kind of hard-lighting would make a lot of nightmare lighting situations (like this one) a great deal easier. Trying to wrangle big soft sources all the time can be a real pain.
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