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Found 3 results

  1. Hey there! Right now I am prepping a shoot that has a scene in a snowy winter forest. Originally the budget was available to really light a large section of the forest up with artificial moonlight and call it a day. But now, the shoot has been broken up into 2 units shooting all the snow exteriors on location for a fraction of the budget (Just a little bigger than skeleton crew) and then all the interiors on a stage in a city that has more production resources for that can work with the budget. The project is a dark/horror theme with vampires in the forest about to bite a deserving subject out of vengeance. It is a quick beat but the end of the project. Simplicity is the goal here. CAMERA Arri Mini LF Cooke Anamorphics Arri Raw UNITS M18 2 S60 Skypanels 6x6 / 8x8 (Ultra Bounce/Silk/Light Grid) Light Control (Flags, Floppies, skinned frames 250, 216,grid) PLAN - My mind is telling me to hoist of the 8x8 Frame with an ultra bounce and blast the M18 into it, letting the light fall light moonlight. Then I want to take the Skypanels and paint the background for depth. I am interested and open to any suggestions for lighting this scene. I am curious about any tricks I may not know about. I am worried about under lighting the scene, so want to have enough moonlight as key. Thanks for taking the time everyone!
  2. Hello all, I'm not familiar with this forum's etiquette, so please feel free to correct me if starting a new thread is unnecessary. I thought I would start a dedicated thread for this topic, as I previously commented on another member's post and not all of my thoughts/questions were germane to her/his native post. So, please forgive any repeated thoughts! I have a few questions regarding shooting on 7222. Throughout my searches, I've been observing mixed responses in regards to how problematic the lack of rem-jet backing on the film is for shooting on the SR3. Some say that the reflective back plate in the film gate can cause extreme halation effects, whereas others have had no problems. I ask, as I will be filming a short, approximately six minutes in length, on an Arri SR3 in the early summer. The majority of the shots will be exteriors, ideally on a somewhat diffused overcast day. The camera will be making a few large dynamic movements, so I was thinking of using a fairly wide angle lens (9.5mm Zeiss Prime Super Speed). Though, I am concerned with focus pulling while the camera makes a few of these longer movements. My thoughts on this problem are that pull focus issues can be minimized by maintaing a deep focus with the wider lens. Though, I'm curious as to how well 7222 performs when stopped down. I've read that, for Super Speeds, the sharpest image is obtained when shooting close to wide open - which would run counter to my desire to retain a deep focus. It is entirely possible that, given the speed of 7222, deep focus and image sharpness have an inverse relationship. Yet, with most shots being exteriors, it's entirely possible stopping down would not affect image sharpness if I were to refrain from using any nd/polar filters. Thoughts? I have experience working with colour negative stocks, but this will be my first attempt at shooting on black and white negative stock. Suggestions for complimentary filters are also welcome! Finally, from the many online examples I've seen, there seems to be a large variance in the sharpness, contrast, and grain of 7222. I would expect this, as there is a large variance in the intention and skill of film makers, but it is making it difficult to assess the limitations of the stock. I may do some tests on a 100' roll, but I thought I would see if anyone had thoughts on how to retain a sharp, low grain, image on the stock. I will likely be purchasing about 500' of film for approximately six minutes. That amount of film does not afford a great deal of latitude as it is about a 2:1 shot ratio. I know that in order to achieve a gamma slope coefficient of 0.65, Kodak recommends exposing at an ISO of 250 for exteriors. In practice, has this proven true? I will have a light meter on hand, but would like to minimize potential problems beforehand. I'm also open to suggestions regarding push/pull processing as a solution. Finally, here are a few examples of films that achieve a similar effect. Although all of these cinematographers were shooting on 35mm, I would like to approximate the richness of detail as close as possible. Thanks for taking the time to indulge me and I look forward to reading your recommendations. František Vláčil, Bedrich "Beda" Batka - Marketa Lazarová This first still is interesting, as it seems to be predominately backlit - yet, the features of Marketa are defined, while the horse is but a silhouette with no front lighting. Mikhail Kalatozov, Sergey Urusevsky - Soy Cuba Andrzej Wajda, Jerzy Wojcik - Popiół i diament
  3. Hi everyone, Very soon I'll be shooting a western short in the desert, mostly with HMI's, ultra bounce, and unbleached mus. My question to everyone is, will the warm color of the sand lower the overall color temperature of my daylight. I know we conventionally rate "daylight" between 5200k & 5600k. Right now I'm a thinking that the HMI's will appear too cool for day exteriors. Maybe the smartest thing to do is work with 4x4 mirrors and simplify things? Also, I'm contemplating using kerosene lamps and small tungsten units on flicker boxes for interiors. If anyone has experience shooting in the desert, specifically westerns, I would love to hear how they created their looks.
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