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Lighting a high key bright promo with kids
Pedro Ribeiro posted a topic in Lighting for Film & Video
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 -
HBO's Game of Thrones Leads the Pack LOS ANGELES, November 19, 2014 - Highlighting excellence in television cinematography, the American Society of Cinematographers (ASC) has named its nominees for the organization's 29th Annual Outstanding Achievement Awards. The winners will be announced on February 15, 2015, at a gala held at the Hyatt Regency Century Plaza. The nominees are: For an Episode of a Regular Series: P.J. Dillon for Vikings, "Blood Eagle" (History) Jonathan Freeman, ASC for Boardwalk Empire, "Golden Days for Boys and Girls" (HBO) Anette Haellmigk for Game of Thrones, "The Children" (HBO) Christopher Norr for Gotham, "Spirit of the Goat" (FOX) Richard Rutkowski for Manhattan, "Perestroika" (WGN America) Fabian Wagner for Game of Thrones, "Mockingbird" (HBO) For a Television Movie, Miniseries, or Pilot: David Greene, CSC for the TV movie The Trip to Bountiful (Lifetime) John Lindley, ASC for the Manhattan pilot (WGN America) David Stockton, ASC for the Gotham pilot (FOX) Theo Van de Sande, ASC for the TV movie Deliverance Creek (Lifetime) "Our members had a very difficult time choosing these nominees from such an incredible field of submissions," says ASC President Richard Crudo. "They have done superlative work in a very challenging medium, and we salute them." This is Freeman's eighth nomination. He has won four ASC Awards for Game of Thrones (2014), Boardwalk Empire (2012, 2011), and Homeland Security (2005), with additional noms for Taken (2003), Strange Justice (2000) and Prince Street (1998). Stockton previously won for his work on Eleventh Hour (2009) and earned nominations for the Alcatraz pilot (2013), Chase (2012), and the Nikita pilot (2011). Also receiving prior recognition are Greene for Beauty and the Beast (2014), Haellmigk for Game of Thrones (2014) and Lindley for Pan Am (2012). Dillon, Norr, Rutkowski, Van de Sande and Wagner are first-time nominees. HBO leads the pack with three nominations, followed by Fox, Lifetime and WGN America with two each. The History Channel rounds out the networks represented. For information regarding the 29th ASC Awards for Outstanding Achievement in Cinematography visit www.theasc.com or call 323-969-4333. -
I have been having an issue when color grading lately with the C300. After the grade, most blacks that are below 40 IRE seem to be artifacting like crazy on youtube. Whereas I don't see this from other people's work. Ive tried these encode settings in adobe media encoder, Quicktime MOV, h264 55'000 kbps 1920 x 818 Quicktime MOV, h264 35'000 kbps 1920 x 818 Quicktime MOV, h264 25'000 kbps 1920 x 818 Quicktime MOV, Prores 444 1920 x 818 But all of them just aren't cutting it and I dont know what I'm missing. My blacks are generally not brought down to 0 because the director wants a low contrasty look and some scenes were shot very dimly with only one LED to light the scene. On the other hand, we've lit darker scenes with several 1k's and Litepanel LEDs and while the highlights and midtones held up the blacks still artifacted hard. Here is an unlisted link to a test video I made. Please don't share outside of the community. https://www.youtube.com/watch?v=4d3WQT4hcN4 Any and all info would be much appreciated!
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Kodak Panel to Focus on the Modern Film Workflow BYDGOSZCZ, Poland - Kodak will host an in-depth conversation with Lol Crawley, BSC and colorist Greg Fisher on November 20 during Camerimage, the international film festival of cinematography. The discussion will focus on the process of choosing an origination format and how that translates to post, as well as address ways to control the look from camera to screen in today's multi-format landscape. Clips from Crawley's award-winning films will be shown, including Mandela: Long Walk to Freedom and Ballast, along with a sneak-peek at his upcoming project. Paul Collard, VP of Film & Digital Services at Deluxe in London, will moderate the session, which takes place at the Opera Nova. A UK native, Crawley's extensive credits include Hyde Park on the Hudson, Four Lions and On the Ice. He won the Cinematography Award at Sundance in 2008 for his work on Ballast. Fisher is based at CO3 London. He has worked on such features as Harry Potter and the Deathly Hallows: Part 2, Hugo, Gravity, and World War Z. Prior to joining CO3, he honed his craft on regional features and commercials at Digital Film Lab, Denmark and Digital Film Finland. "Film remains a strong preference for many filmmakers, and we're excited to hear what these talented artists have to say about creating powerful visual stories," says Kodak's Sam Clark. "We have received tremendous support from the industry this year, making it possible for us to extend the life of film. Through this session, the audience at the festival will take away several compelling reasons that continue to make film a viable choice for creative, technical and economic reasons." For more information about Camerimage, visit www.camerimage.pl, and for more on Kodak motion picture films, go to www.kodak.com/go/motion.
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Masterclass with Steven Poster, ASC - Donnie Darko Don't miss this conversation! Seating is limited & lunch is included. Saturday, November 15 from 10:00 AM to 3:00 PM Following a screening of Donnie Darko, cinematographer Steven Poster, ASC will present an overview of his collaboration with visionary director Richard Kelly and deconstruct key scenes from the film. Poster will also deep dive into his projects and inspirations, and share his secrets about how to persevere and flourish in the film business across many years. register here: http://bit.ly/1tJvE3e -
"Donnie Darko" cinematographer and ICG Local 600 President Steven Poster, ASC, will present a master class in cinematography at IFP's Made in New York Media Center in DUMBO on Saturday, November 15, 10 am to 3 pm. The film "Donnie Darko" will be screened in the morning and after lunch, Steven will present an overview of his collaboration with director Richard Kelly. Steven will also share his secrets about how to persevere and flourish in the film business. When: Saturday, November 15 10 am to 3 pm Where: IFP's Made in New York Media Center (DUMBO) 30 John Street Brooklyn, NY 11201 RSVP here. http://nymediacenter.com/events/event/?id=242651E3-8495-4F0B-A94FEC84FA3E2750&slugid=masterclass-with-steven-poster-asc-donnie-darko -
Hey, I'm Lea. I'm a young filmmaker trying to get my foot in the door. I would love to hear any anecdotes or advice you have on the subject. Here's my reel. Feedback is welcomed and appreciated! Check out my site! Hope you enjoyed it! All the best, L. Fox
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https://vimeo.com/89732554
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Title: Learning From Hollywood - Architecture and Film Author: Hans Dieter Schaal ISBN: 3 - 930698 - 70 - 6 Link: http://www.amazon.com/Learning-Hollywood-Architecture-Hans-Schaal/dp/3930698706 Hi all, I have finished the book above mentioned and it is a quite interesting point of view on Architecture and Film and how architecture is designed on movies to create moods together with the help of the cinematographer. It might be something that cinematographers might not consider reading but it is a very small book - 120 pages - and it is very well structured. We can find chapters on Houses, Streets, Light and so on and I would say that if you can get a copy in your local library or you can get it online, flick through it because it is really amazing. I found that some of Hans Dieter's point of views are a bit old fashioned or very architectural related - for example, he writes that streets are always negative forms as opposed at buildings - and although I don't agree with him on some points, it created a new box in my mind where I can throw things regarding architectural aspects of the process of my cinematography development, and that is always good :) It contains several examples of movies that are the paradigm of architecture in cinema, and quite a lot of images too, from M to Viridiana, etc, etc. A good reading for a weekend if you don't have anything else to read! Highly recommended! Have a good day! -
Hi Cinematography.com I thought you guys would be interested in our awesome camera accessories sale. Up to 50% off of camera accessories for DSLR and compact cameras. These professional quality products will allow you to take your filmmaking and camera skills to the next level. http://www.genustech.tv/collections/specials Also check out our awesome mini jib. A compact lightweight camera jib that allows you to pull of those smooth cinematic shots you want. http://www.genustech.tv/collections/camera-jibs/products/camera-mini-jib
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Hello, there! I'm a 16 year old director, and have just gotten into cinematography. I'm beginning to develop a style of moving the camera during intense scenes, and framing wide shots by focusing mostly on the background. Please take a look at my latest short film, "The Lake", where I use these principles to heighten the suspense and tell the story. John W. King
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Hi, Been a reader for a long time but haven't been active on the site much, thought you all would have some good insights on my most recent reel. What you like, what could be done better. It's a mix of F65, Red, 16mm and one or two DSLR shots. Thanks guys, all the best! Ben http://fischinger.com/showreel-2014/
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Hello! I'm wondering what you folks think about this. My goal is to use it sort of as a teaser on my website, in order to get producers to click through to my portfolio where I have projects in their entirety. I'm wondering if this is effective? Or maybe it looks amateurish? Or maybe the older producers out there who aren't used to ingesting media in bite size bits might have a seizure watching this? What are your thoughts?? Thanks :) -
Here is my reel. I would love to hear your thoughts!
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Hello everyone, My goal for writing this post is to get a better understanding of what goes into achieving a "well balanced" shot. For clarity, I'll lay out the main factors which I believe contribute to the composition of a shot. These are: Physical camera and lens: The desired look and feel of any shot is obviously constrained by the physical tools in use (to an extent). Shooting with different settings on the camera can also either add or take away from a certain look that may be desired. Lighting: I'm under the impression that lighting can make or break a shot, regardless of how expensive the camera used to shoot is. Post: Everything that comes in the editing stage. It seems like a well lit, clean shot is crucial here if the goal is to get the most out of color correcting, and otherwise processing, the footage. How heavily do each of these factors impact the final composition? For example, by percentage, my intuition would be that it's something like: Physical camera and lens (50%) Lighting (40%) Post (10%) Is this about right, or am I way off? I'm guessing this would vary based on the type of shot I was trying to achieve, so for the sake of this post, let's say that I'm specifically talking about achieving a look and feel similar to the screenshot below: This is an image from a film titled The Raid 2. I chose this scene from the movie because I particularly struggle with setting up lighting for night shots. It looks like they did a pretty good job here, without losing any detail or overexposing the image and making it look unnatural. Considering the screenshot above, how much of the look and feel would you say is due to having "the right equipment" vs. having talented and experienced individuals with an in-depth understanding of cinematography. Any input is appreciated!
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Five Film School Students Awarded KODAK Scholarships
Sue Smith posted a topic in Cinematography News
LOS ANGELES - Kodak and the University Film and Video Foundation (UFVF) have announced the recipients of the 2014 KODAK Student Scholarship Awards and KODAK Student Cinematography Scholarship Awards. The presentation was made Saturday night during the annual banquet and awards ceremony at the University Film and Video Association (UFVA) Conference, which was held last week at Montana State University. Kodak's annual global competition is designed to recognize emerging talent that demonstrates superior filmmaking skills and creativity. Selected by a panel of judges led by award-winning cinematographer John Bailey, ASC, this year's winners represent film schools in Hungary, Russia, Singapore, and the United States. The KODAK Student Scholarship Program Award winners are: Gold Award ($5,000 tuition scholarship award and $5,000 KODAK Motion Picture product grant) - Timothy Yeung from New York University's (NYU) Tisch School of the Arts Asia in Singapore for his film 90 Days. Yeung wrote, directed and produced the drama. Silver Award ($4,000 tuition scholarship award and $4,000 KODAK Motion Picture product grant) - Dustin Brown from Santa Monica College in California for Solidarity. Brown was writer, director, producer and editor of his narrative. Bronze Award ($3,000 tuition scholarship award and $3,000 KODAK Motion Picture product grant) - Anton Moiseenko from the Russian State University of Cinematography (VGIK) in Russia for his piece Experience of the Celestial Bodies. Moiseenko wrote and directed the documentary. The KODAK Student Cinematography Scholarship Award winners are: First Place ($4,000 tuition scholarship award and $5,000 KODAK Motion Picture product grant) - Balaji Manohar, also from Tisch Asia, for his cinematography on Little Master. Honorable Mention ($1,000 tuition scholarship award and $3,000 KODAK Motion Picture product grant) - Balász István Balász from the University of Theatre and Film Arts in Hungary for his visuals on House. Kodak partners with the University Film and Video Foundation to make this program possible. The UFVF is a not-for-profit organization that engages in and promotes worldwide education, research, innovation, and charitable activities in the arts and sciences of moving images and aural communication. Accredited film schools around the world nominated up to two students for consideration for the KODAK Student Scholarship, and one cinematography student for the KODAK Student Cinematography Scholarship. The cinematography student nominee could also be nominated for the KODAK Student Scholarship Award. They were judged on a combination of past work, faculty recommendations, and academic achievement. Judging took place in July. In addition to Bailey, the entries were judged by Melinda Levin, a professor at the University of North Texas and president of the UFVF, and Kodak's Lorette Bayle, who is also an award-winning filmmaker. Kodak introduced its worldwide film school program in 1991. Through the years, the program has grown to include a wide range of initiatives to help both students and educators enrich the development of their skills in the art and craft of filmmaking. For more information, visit www.kodak.com/go/education. -
Hi for all, Yesterday I watched Road to Perdition for learning purposes, and even it is not the first time for me to watch it, I was really impressed by every frame I watched, and enjoyed every minute of music composed. Conrad Hall a legendary Cinematographer who really nailed some movies including this one, in which I have some question for you professional guys, 1. there is a very nice montage " Road to Chicago" (You tube Link bellow) and I which if you guys can explain to me how he did this car scene (start at 26th second) ? is there any green screen and cut to a real shot ? it looks really realistic. 2. when we really need to use a vertigo shot ? is it just aesthetically pleasing or it has a certain meaning ? what is this meaning in this shot ( 1st attached image). 3. the third attached image is for you to enjoy some art.
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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 :) ?
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Hi... Happy New Year to All. Here my Question is Where can I get all detail of Cameras and their usages and their Plus & Minus.. Please Let me know the Website or anything... Thank You to all.
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Hello fellow cinematographers and film makers! If I could borrow 3,750 frames at 24fps of your time to review my new reel on my website listed below. It would mean a great deal to me if you could offer some critique afterward. I'm in the middle of a huge push to take my work and career to greater quality and new opportunities. I would be happy to return the favor. Thank you and happy shooting! Alex www.alexfuerst.com -
Hello fellow cinematographers and film makers! If I could borrow 3,750 frames at 24fps of your time to review my new reel. It would mean a great deal to me if you could offer some critique afterward. I'm in the middle of a huge push to take my work and career to greater quality and new opportunities. Any feedback would be greatly appreciated. I would be happy to return the favor. Thank you and happy shooting! Alex www.alexfuerst.com
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Here's my latest reel.. Moving to NY from LA next week. https://vimeo.com/96209450 35mm, 16mm, Alexa, Red, HD Thanks for checkin it out--
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Hello, I just completed working on a short film.. extremely small crew, sometimes I was the only crew member. :) Regardless of that, I'd love some constructive feed back on my Cinematography. Pointers on what to think about, good visual analyzation and thoughts. Let me just say I appreciate all of the professionals on this site helping others to grow and learn. Sincerely, Davi
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This just-released video by Sia is already being called by some the Best Video of 2014. And to be sure, it is really good. The choreography, the lighting. . .and the song isn't bad either. I'm looking to get others' opinions on how it's shot and edited, though. There seems to be something a little 'off' with these. In my opinion, Beyonce's "Single Ladies" is probably the best exercise in mixing camera movement along with choreography and creative lighting, as well as creative/appropriate editing. I was stunned when I first saw it, and am challenged/inspired as a photographer (and steadicam and jib operator) by it to this day. Some might not think comparing the two videos is 'fair', because of various factors like shooting on set v shooting on location, the genres of music, or what the directors were trying to accomplish. But being that dance and choreography are the main elements in both videos, I think it's fair, if just for example's sake. This video seems to be a little Videography 102: Get your wides, tights, and mids by cutting; and edit only for continuity of motion. Asking myself What would I do differently, I don't believe the video has to be a 'one take', but I would make a lot more use out of zoom, and move around a lot more, also trying to keep the dancer in-frame more, particularly on the closer shots. With editing, maybe there's a few 'rules' that should be broken. That's all I can say without getting gratuitous. I want to emphasize that I think this is good video (wouldn't be surprised if it won some awards), but would like some input from some of you in the know.
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Hey everyone, I am a film director, actor and visual effects artist. I have spent the last ten months creating and saving up a year worth of YouTube action/comedy short videos just like the current big YouTube stars (FreddieW, Corridor Digital, Julian Smith). Videos release every Monday. Please consider checking out my videos and subscribing! Thanks! YouTube channel: https://www.youtube.com/user/TheDragoonLord Yours faithfully, -Henry
