Search the Community
Showing results for tags 'lighting'.
-
I'm gaffering on a short film this week, and had a basic selection of gels to chose from for the shoot from our university. I've got the standard CTB/CTO gels to use on our lights. I was looking for some CTS (Straw) to use on tungsten units as morning sunlight, however for some reason all I could get was No Colour Straw (Rosco #804). It seems to still produce a nice light with a slight yellow tint, which suits a morning sunrise. I was wondering what the different between normal Straw gel, and No Colour Straw gel is? I bet it's so minimal, but it would be good to know!
-
I'm DOPing a short film this week, just got back from the first shooting day of 4. It's a drama/thriller short film set in one house, for the duration of one night in the world of the narrative. The main rooms we are shooting in are small bedrooms, and a tiny bathroom. Today I had one of those days where I wasn't happy with any of the shots, I knew why I wasn't happy, but I just couldn't figure out 'how' to fix the shot and make it the standard I am always going for. I'm guessing I'm not alone with this, like anything in the world, you have good and bad days. For example, one of the scenes was a tiny 8x8foot (if not smaller) bedroom, of our main actress on her laptop whilst laying on the bed. With the kit I have available, I was able to raise a 2kw blonde just high enough from the exterior to light the room, which is on the first floor. This usually works for me for larger rooms, however with the room being so small, the light was just thrown and bounced all over the place. It would be interesting to figure out how you would light a similar scene? If you could have any lighting kit what would you chose to do this? Another scene I struggled with a lot was a day for night scene in the small bathroom. We had to tin foil all of the windows to cheat that it was night time, which meant I could only light from the interior. There isn't even a way of getting a light into the bathroom from the exterior even if we were shooting at night. The bathroom was fully tiled with white shiny tiles, so whatever light I had in the room just bounced everywhere once again. I went for a blue gelled LED to give the bathroom a blue tint, and the 2kw with CTO 1/2 on the landing outside the bathroom, to create some colour depth when the bathroom door is opened by the character. Once the character was in the bathroom, her close-up was just flat/boring in terms of lighting. I tried adding a warmer LED to add some contrast, however even at the lowest intensity, this was bouncing everywhere and creating even flatter light on the subject. Absolute mayhem! I guess it would be interesting to hear about similar experiences, and maybe how you solved them.
-
I just watched a short film on Vimeo, and really liked the natural lighting, so natural I almost questioned whether artificial lighting was used at all. I was wondering what your thoughts where on how you think the shots are lit? My thoughts for the bedroom scene are that they gelled the windows with CTO or CTS to cheat the appearance of 'warm' light shining into the room, whilst keeping the interior lighting very cold. Potentially using HMIs or daylight corrected tungsten lights for the interior? I can't seem to share the screenshots as the image sizes are too big. The film can however been seen here on vimeo:
-
Hey everybody, My name is Mike, I am an Electric and I will be gaffing for a short film. I have to recreate late afternoon light to shine through a window. My question is do I have a strong enough light source? My main light source is an Arri Tungsten 5k. The DP wants it about 20 or so feet away from the window. We are on the second story so the light will be on a stand about 16 feet high. The DP wants afternoon light (4300k) to shine through the bathroom window. So I will gel the 5k on a 4x4 frame with 1/2 CTB (4600K). He also wants some New Hampshire Frost on it. Using Arris Photometric Calculator I calculated the Arri T5 5k light source at: 21ft. Middle flood to give me a 3914 Lux. Aperture at F13.8 ASA 800 30fps Wikepedia says Lux for a sunset/sunrise to be 400,1000 for an over cast day, 10 000 for full daylight. My 3914 Lux does not take into account my 1/2 CTB gel and Hamphire Frost. So ultimately I am asking where my light is placed right now 20ft away though 1/2CTB and Hampshire Frost, do I have enough light or Lux to recreate late afternoon sun? Yes I can lower the aperture on the camera from the 13.8. Or should I rent a 10k. Keep in mind I only have one Grip to help me. Thanks a lot for any help in advance, it is much appreciated. Cheers, Mike
-
Hello everybody. It's my first post on lighting here on Cinematography.com I'm looking for a lighting kit to use with my Black magic Pocket Cam and 16mm lenses, that could be affordable, compact, and produce good results. Artificial Lighting is not my strong on Cinematography, I normally improvise with natural light, and have used an Arri Red kit before. Loved the results. I know there's a difference between fluorescent, incandescent and LED... though what would be a good choice in the case of using for small productions? When it comes to buy, its worth ask around for those who understand before go to BH Photo. Please let me know your suggestions. And thanks in advance. Thanks, Flavio
-
Hi all, I am currently in the process of writing my University dissertation which is a comparative study between L.E.D lighting against traditional lighting fixtures in Hollywood film-making (such as Tungsten Halogen lighting fixtures) and was wondering if anyone could help me answer some questions on the subject. How far a role does colour rendering index play in D.O.P’s choosing Tungsten Halogen lights over L.E.D? With improved sensors able to operate in less light will this be advantageous for less powerful LED lights. Is there still a need in film-making (especially Hollywood film-making) for the bigger lighting fixtures? (e.g lighting fixtures such as the Sunray 24K Fresnel light) Thank you very much for your time.
-
hello everyone i'm a film student applying for a DOP job for one of my classes, and for the script we are shooting we have to film on the side of a road in the middle of no where. any suggestions on possible lighting tricks to light the scene? any and all help will be appreciated thank you much!
-
Hi everybody, My name is Jorden, I'm from the Netherlands (so sorry for the bad english) and I'm new here on this forum. I'm very eager to learn some new things, so I hope I will get a chance to meet and talk to some of you guys. Anyway I have a question about lighting. So I'm working on a project where I have to do a couple of interviews. And I saw this video with Barrack Obama and I'm very impressed with there studio set up and overall look. So my question is: Does anybody have any experience with this type of set ups? I'm thinking that a big studio is required. So if anybody has some advise or a link with more information. I'm just wondering what kind of lamps they might be using. Thanks! Best regards, Jorden -
Hi all, Hope you are all well. It would be great to get some feedback on my reel. Any comments are welcome. Cinematography Reel https://vimeo.com/115711277 Kind Regards,
-
Hey guys, Just looking for some reviews/insight on the Lowel Rifa fixtures. I noticed Seamus McGarvey uses them pretty frequently for close ups. They seem relatively inexpensive as well, so i was just looking for some more opinions about them. Thought about maybe picking up the LC66EX Rifa-light. Any insight is much appreciated. Thanks! -Ben J
-
Good day, For a low budget short I will have many day exterior scenes (in moving and parked car and on the street) where I initially thought using only scrims, reflectors and negative fill, because I was afraid adding light would slow us down too much. But we are in winter and being in the mountains the weather (and light) can change very dramaticaly in very little time so I thought that if I took only one single but very powerful artificial source it could not slow us down so much and would up the results noteably. I figure a 6 or 8K would fit every shot (as I can always bring down it's power, but I obviously cannot raise the light of a smaller source) and we would not have to rent more fixtures. (less fixtures, fewer people to physically manage the light, fewer generators, smaller truck, faster shooting) Let's suppose physical space is not a matter: if I need the light it "lower" I could simply move the source further away before it hits the 8x8 diffusion. But: Is there something I miss? Is this (less fixtures ... faster shooting) a "valid formula" without overly compromising the result? (We will shoot on SRIII, Super16, Vision3 200T) Thank you in advance for any advice or shared experiences!
-
Hi, Im in the middle of doing my folio for studio arts at uni at the moment and I was wondering if anyone can give me advice on lighting using the sun and the optimum times for shooting during the day/ getting night shots over a city but using some light from the sky, like in the photo's from 'Her' that i have placed below (mainly focusing on the screen shot of the rooftop over looking the city). I have done a bit of reading on the 'Golden hour' and basically want to know what other effects like this you can get from the sun during the day/dusk. Regards Gabe
-
Hey everyone! It's my first time posting here! My name is Marc and I'm an aspiring Cinematographer! I came here to post my work (Demo Reel) and It would be awesome to hear some opinions, feedbacks, critiques etc. All of the footage were shot with DSLRs. I'm serious about this stuff so I need to get better. I appreciate it! I'm also posting still images of what I recently shot! I guess you can just critique on the lighting for those ones. Do I have what it takes? Or should I just go and pursue other areas of film or in general? thanks!! Demo Reel: http://tinypic.com/r/sdzos1/8 http://tinypic.com/r/1g3ibp/8 http://tinypic.com/r/2chl3rd/8 Sincerely, Marc
-
Hi, I am G/E on a short film at the end of the month. We are shooting in an old wood cabin like building. We will need to mount lights from the ceiling for our wides and to move around quickly. The ceiling is wood paneled with vigas and wood trusses. We are not allowed to screw into it and our 8" cclamps are too small for the vigas. What is the best way to mount lights to the ceiling non destructively? Thanks for the insight. Some photos of the space. https://plus.google.com/100393799422897899830/posts/HG42uqxnUJa
-
MKE Production Rental is a lighting, grip, and camera rental house in Milwaukee, Wisconsin. 710 N Plankinton Ave Suite 300 Milwaukee, WI 53203 (414) 939-3653 http://www.mkeproductionrental.com MKE Production Rental is a one-stop shop for small to medium film and video productions. We rent RED, Blackmagic, Arri, Kino Flo, and more. Google Plus Facebook Twitter LinkedIn Yelp -
Hey guys, I am not a cinematographer, Im just curious about it. I've noticed in behind the scenes footage that a scene will look so lit up, but then after post the shot is dark with shadows and back lighting, beautifully lit. I have an intuitive theory why...Makes it easier to tune the exposure, shadow detail, highlights etc...Gives the color grader everything he needs to make the shot look awesome. And its done by calculating the power of each light relative to each other. But this could be completely wrong ha. Anyway, please educate me, I would appreciate it. btw, can anyone recommend a good book on the phycological use of color in filmmaking? If there is any.. Thanks
-
Hi Guys. I'm new here and relatively new to lighting for film. I'm hoping this forum will guide me and help me improve my lighting techniques. I'm shooting a small corporate on Saturday and there is one shot on which I would appreciate your suggestions. I have not had a chance to recce the location but have been sent this photo from the client. The scene must look like daytime, but unfortunately due to a tight schedule it is likely to be shot at dusk (best case) or in total darkness (worst case, hopefully not as I will then be battling exterior sodium street lighting too). As you can see the room is quite small. The key shot I'm concerned about will be a wide from slightly to the right of the photographed position (against the back wall). It will take in three people sat on the sofa looking at a photo album and must include the window. There is a vertical blind that can be drawn across the window and be either partially or fully closed, but obviously it must be sufficiently backlit to look like daylight outside. A relatively soft look is desired. There is no budget to hire in extra kit so this is what I have available to me to make the shot work: 2 x Arri 650w Fresnel 1 x Arri 300w Fresnel 2 x 55w (200w eq) Energy Saving Daylights w/China Balls 2 x Bicolor 1x1 Litepanels 1 x 1m lastolite style reflector Plenty of Gels & Diff Will be shooting on a Red Epic with Samyang cine lenses. I have had some thoughts on how I might go about lighting this but I'm seeking the wisdom of more experienced folk. I'd be interested to hear what different approaches you guys might take towards achieving a soft daylight effect under these circumstances. Thanks.
-
Hey guys, Does anyone know of a good place to purchase Kino flo party colored tubes? Looking to buy some color tubes (blue,red.) Can't seem to find them available for purchase online, but I know they exist. Thanks! -Ben Joyner Cinematographer // benjoyner.com
-
Starting a feature this week and the director wants a very "yellow springtime" look to our lighting. Mostly the highlights. Attached is a photo and isn't the best because the female is blonde as is probably natural backlight but this is the the rough tone. So my question is: to get that warm almost sunset color without getting too red/orange, has anybody played with more yellow color correction on daylight lit scenes? So on our HMI's instead of adding CTS or CTO for a little end of day glow playing more with yellows. I've but aside (from LEE) 100 Spring Yellow 767 Oklahoma Yellow 101 Yellow 102 Light Amber 104 Deep Amber Has anybody played with these colors on bigger sources? (18kHMI / 6kHMI) I like the look of 100 Spring Yellow but am afraid will start to feel green when blasting with a big unit.
-
I'm shooting a person with images being projected on them by a Epson 8350 Digital Projector. I want to shoot at a high frames per second (120fps) or a high as I can get a way with... The problem is the viewfinder and monitors show an unwatchable bad amount of pulsing light flicker. Does any one have any advice on how to do slow motion with a projector light in the shot and on a subject to mitigate or preferably all together stop flicker/pulsing light look?
-
Hi, I'm making a short film next year, and one of the scenes features two people walking the streets of a city, much like this ( see video below ) i was wondering if anyone could tell me what is the best way to light the actors to get that city night feel? or do i need any other lights at all, will the ambient light of the city do? keeping in mind my rig will consist of a glide cam, and a Canon c100 mk 2. so not much room for big lighting rigs moving with the camera, also its quite low budget film. any thoughts? Thanks Gabe
-
Well I've just had a bit of a shock. I bought some LED light bulbs and normally I get cool white bulbs but this time I bought some warm white as they were on sale and there wasn't a choice. However on getting them I was shocked at how green the output was! It was immediately visible and was much worse than on other lights I have encountered even with flo's. Of the bulbs I bought the little candle style bulbs seemed the worst. The bulb shaped bulbs were still bad however. I put one of the candle style bulbs into a lamp with a shade all around and it lit up quite green and with the addition of some orange gel it became quite bright yellow like you might find in a highlighter pen! Is it the case that warm white is a lot, lot less colour accurate than cool white? The cool white bulbs look a bit blue but I've generally had good experiences with them. I think I will avoid warm white in the future unless it's for a special effect! Freya
-
I am putting together a lighting order and have a question about my power distro. I have to run three 18k's, some smaller units, as well as a 50k Softsun. I know the softsun runs off 240v, while the 18k's run 220v. Can I run these at the same time? Also while having smaller units with 120v? I have a 1400amp tow plant on order, just could use some input about running it all together, thanks. -
At the CCW convention I saw some really cool new lights at the Shadowstone Lighting booth (I was giving a talk on lighting reality TV). One was the new Tungsten HMI Joker from 5600k and the other was the new LED baby zip light from Mole. You can read more and see pictures on my little blog here -http://www.lightingforcinematography.com/lighting-news/
-
Hi everyone, this is my lighting set-up for a short film I did back in the day. It was an interesting 15 hours, stuck in a little crowded room. In the particular set-up that I have illustrated, 4 - 100 W lights were used enclosed in aluminium cones to give us a spotlight effect. We didn’t want to set up a large light as it would illuminate the whole room and eliminate the contrasts, however we did have a 500 W in behind one of the walls with a grill in front to emulate sunshine peeking through a window. Yes the 500 is extremely low to simulate sunlight, but we didn’t want to blow out the scene with the sun rays if we used a 2K or an HID. The scene shown in A1 was kind of tricky, because the lights where about 7 feet off the ground, and when the talent got up from the horizontal position, they where suddenly half way from the light source creating some hot spots. In order to resolve this we re-shot the scene with some diffusers. During the entire shoot there were frequent repositioning of lights except for the 500, which stayed in its spot. The lights where the clamp type 100 W. Since we were very restricted on space with no room for any sort of light stands this was very convenient. If anyone has ideas on how this could have been lit in a different manner, I would appreciate your input. This would not be the last small set for me to light and film in but at the end of the day it’s these challenges of filming in difficult areas that make our lives even more exiting. Happy filming. Izik Nox.
