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Found 6 results

  1. Hi, We are two technicians working in the film industry in France (a grip guy and a gaffer) and we just discovered this very interesting forum. We particularly noticed that gaffers and cinematographers were asking questions about light output and what aperture is obtained at a certain distance. It happens that with the help of two IT engineers we developed an iOS app responding to this question about 2 years ago. First and for all, we’re not going to post messages everywhere on this forum to sell our app nor are we going to pollute your threads to gain in visibility. We just think s
  2. I work on an unscripted show where we primarily shoot exterior interviews but occasionally will move inside and use a window as our background when the weather is bad. I’d like to be able to ND the window to reduce the amount of light needed on talent and am thinking of having a couple of wood frames built out of 1x3 strips of lumber so we could quickly drop in different levels of ND. Being that the window is only a couple feet behind talent (out of focus but barely), is this a good approach or would we see lots of reflections, etc.? We don’t have time to apply the gel directly to
  3. Hi, I've been conducting a little research about gel and I wasn't sure the relationship of transmission and stops. Say, a gel has transmission of 30%. Does that mean that the gel reduces the luminance by 70%? If so, is it in lux or lumen or stop? (I don't have a firm understanding of these units so I might be saying random things) Also, is it helpful to know the transmission vs. wavelength chart? I'd also like to know how the colour temperature of an original source affects the end result through gels. Is there a certain colour temperature that's most appropriate for gels? Or is it
  4. Hi everybody, I have a big doubt about White balance. I know how it works with the tungsten light, fluorescent or HMI but my question is: what WB I have to setting in camera if I have colored light (with gels) as key light? what is the best setting to maintain a good skin tones? For example, in the picture below.. (lighting with kinoflo + pink gel) Thank you so much for your help
  5. Hello, Looking to buy the right gel for balancing my tungsten Blondies to match the color temperature of my daylight balanced fluorescent panels. At first I thought I'd just gel the Blondies with a full CTB, but then I saw the 241 "Fluorescent 5700K" gel. It looks more teal than blue, I'm guessing they added a little bit of green to compensate for the green in the fluorescents. I'm a beginner with using flo-lights, so my questions is - would I be better of with the 241 on the Blondies OR doing the full CTB on the Blondies in addition to adding a minus green to my flo-lights? I
  6. hey guys, i'm planning on using par 64s to create strong shafts of light coming through a row of windows, imitating moonlight. The action will be backlit entirely by this, some fill being provided by redish alarm lights in the foreground (practicals). I have never used par 64s before (but they make sense in terms of budget), so I'm unsure regarding the following issues: - in order to give the pars a blueish tint, i will have to gel them with some degree of ctb. how much light will i loose doing this / is the loss as significant as with tungsten lights? - i want my light shafts to b
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