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Hi, Sorry, this is my first post. Im about to start filming my first year graduation piece and I'm not sure what stock I need to order. It will have a mix of interior hallways (a school's corridors with low angled lighting entering through doorways) and early morning exterior, 9/10a.m. (note that I am in Ireland so it is generally over cast) The school is lit with those fluorescent ceilng tubes which, I know give a green tint to skin tones. -This is my big issue, I am desaturating it in post production and I need to know if this greenish tone on the skin will affect the contrast on the characters' faces etc.? -Will my additional lighting clash with the fluorescent? -What gels/filters are applicable? -Also, of course: 250T or D? -And do I lose a lot of speed by balancing the existing flourescent lights with my stock.

I'm about to shoot a tiny test project where a 3 page Conversation scene takes place at an open spaced parking lot. Looking at the forecast, I expect our day to be a cloudless sunny day. I just wanted to hear some of your techniques on working with the sun, precisely on timing & scheduling your shot. How do you work with the sun? I'll take all the explanation you got, but a few questions I would like to have them answered would be... - Do you schedule the wide master on early AM or Magic hour? - Do you choose to not shoot when the sun is directly above, sometime around maybe 11AM - 2PM if wide diffusing isn't an option? - Do you try to backlight the actors as much as possible with the sun? - If your wide was very contrasty, then do you try to match the contrast on CU, or will you ignore the consistency and go diffused instead? Thank you all for taking your time to read this post. I'd really appreciate your opinions on this.

Hi I've a shoot coming up in an environment with a high ambient level - indirect sunlight in a large white room- lots of windows - lots of daylight - but nothing too direct (windows are north facing etc) so handy in a lot of ways. However, I'm just wondering what you guys may suggest for sculpting the light a little more? HMIs are out of the client budget so I'm thinking of sculpting with the natural light as much as possible using reflectors, diffusion and negative fill. I've got a couple of kino style fixtures, but the fall off on these won't help me much in the wides and mids I imagine though I may get some use out of them in CUs. My other fixtures, LEDs won't have the power. I've a tungsten 650 fresnel but I'm not sure about introducing a hard tungsten light into the mix unless perhaps a backlight if I ctb this baby up will it still have the necessary power to be useful? Any other suggestions? It's not a problem having all the ambient as it's a fairly upbeat talking heads style shoot, but I just wanted to have a little more control over the environment, and it's always handy hearing what others would do - great way to learn :). Knocking out the ambient to have complete control over the light levels - as I know that sunlight temps and levels will be constantly changing won't be something we'll do too much of though I've done it a lot in the past. Changing light levels won't be much of an issue as although the shoot is full day the interviews are short and don't need to look the same.

I'm a student cinematographer in Cape Town and I am doing a paper lighting with the following question: How can I light a evening dinner scene with 10 people around the table at night. Shooting at day time with two windows letting sunlight in. I have an idea it has got something to do with mixing colour temperatures... Do note we are not permitted to black out the windows.

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!

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!