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Showing results for tags 'lighting'.
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Hello, I'm in the early stages of a project and we're heavily leaning towards black and white. My question relates to the CRI of our lighting fixtures. Considering CRI is specifically the Color Rendering Index, can we just ignore it on B&W projects? My first thought is yes, but I want to cover my bases in case I'm forgetting any beneficial qualities high-CRI lights provide beyond accurate color. Furthermore, does the answer change depending on shooting format? (B&W Film vs. Epic/Alexa Monochrome vs. shooting color and grading in post) Thanks for contributing and I appreciate your advice!
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Hey guys, I'm trying to create flicker on a fluorescent fixture in a hospital. Normally I would dim down on the unit or change the voltage to create the desired effect, but there is no drop down ceiling and I can't get access to the ballast without pulling the entire fixture down, which might not be possible. Has anyone used anything to flicker a fluorescent by where the bulb connects with the fixture? My other option is to find a bad bulb which probably won't be a problem at this location, but I'm not confident that it will look right without testing it. Any ideas? All the best, Andrew
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For sale, Mactech tubes V1 32k and 55k high output led tubes 110v dimmable 4' tubes $100 each 20- 32k 20- 55k 2' tubes $60 each 12- 32k 10-55k 1' tubes 40 each 4- 32k 4-55k 5500 for whole pkg
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hi people, may be, it's little bit a noob question but i have to ask. Can anyone make a breakdown of this image and tell what kind of lighting equipment do i need? I have access to canon 7d mark II and sony 7s mark II as camera, and I will operate sololy. thanks barış
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Hi All I am a Uni student studying film and working as a spark and gaffer on low budget productions in London and was wondering if you might be able to help me out with my dissertation. I am doing it on LED vs tungsten and the effects on the industry, changes to the working environment compared to tungsten and the more technical sides of LEDs. Many thanks in advance Peter
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Hi, I work at a university and we are in the process of building a new film studio. The studio is 2500 square feet with a rig fairly high up. On three walls there will be an infinity curve. I'm trying to find some advice and suggestions as to what you would put in there in terms of lighting please? I've not had to spec a studio this size before so any advice would be really helpful. So far all I've got on my list is 10 x 6K space lights. As a university we are on a bit of a budget so just looking for a basic studio set up as a start. Thanks in advance, Paul. -
Hi all. I bought a truckload of lighting gear and am selling the surplus. Make me a (realistic) offer. NEW : Brand new, in boxes, FilmGear & Ianiro tungsten studio Fresnel and LED lamps with barn doors and bulbs. TUNGSTEN : 1 x 150w fresnel 1 x 300w fresnel 1 x 650w fresnel 1 x 2kw fresnel LED: 1 x PowerLED 240w, daylight balanced, with Filter Frame 1 x Ianiro Solaris LED fresnel 150w (1000w equivalent), daylight balanced, with barn door. USED : Set of Dedolights, tungsten Aspherics2 – 4 lamps x 100w. With DT12-4 ballast, cables, barn doors, filter frames and new OSRAM bulbs. Fully checked by Munich-certified technician and in great shape. I have 4 sets for sale. These guys are bombproof, super portable, very low heat (for tungsten) and put out the equivalent of a regular 300w fresnel.
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hey guys, A relitively simple one, I would just like to double check with you all in case theres something im missing. I have a shoot coming up where we are going to have a series of babies 'talk' to camera. Plan is a white cyc setup up with a super soft source bounced above and over camera and then fill from pretty much all sides and a bit from below. Ill shoot on the alexa mini with cooke glass wide open. any thoughts beyond the above? or any experiences people want to share? thanks! kris
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Hammer Lighting & Grip 7505 Crews Drive Indianapolis, IN 46226 Phone 1: 317-547-4747 Phone 2: 877-544-4747 Email: info@hammergrip.tv Website: http://hammergrip.tv/ Info: Specializing in grip and lighting rentals, including camera support and grip truck packages including 1, 3, 4, and 5-ton. Excellent customer service, the owner Derek Hammer, is a great resource and friendly guy. All the employees are top notch and helpful. -
Hello, I'm working as a gaffer for a student film this January. The story is a drama/thriller that follows a man who dies and becomes trapped in a sort of limbo state of being. It's dark. It's fantasy. Our budget is very modest, but I'm very interested in using half hampshire on the windows for all day interior scenes - I love the blur it gives. However, those scenes make up only 30% of the film and the rest is night interiors. I'm wondering, can hampshire be used on windows at night to any great effect? I've looked into using dirty water and a spray bottle, but I imagine it will lack what the hampshire will deliver. Any advice is appreciated. Thanks, Jesse
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Hello everybody. This is my first post, i'm used to be more of a reader. I would like to get a little help from you, if you're willing to give your opinion : i have been a student in cinematography for almost four years now, and i'm starting to work on my master thesis. Thing is, i had quite a few ideas, but there is always something wrong : i wanted to work on minimalistic lighting, with the increase in sensitivity these years, but an older student is already on the subject. I wanted to speak of the correlation between being a dp on set and being a dp on post, for Wall E with Roger Deakins for exemple, or Life Of Pie, criticized by Doyle, this kind of problematic. But our master thesis is supposed to help us find someone to hire us, and i'm more of a set guy than a post production one. I wanted to talk about ENR, ou Bleach Bypass, but the subject is too old and so on.. So, if you could help me brainstorm around a good subject, it would be really nice of you. I'm would like to met DoP and 1st Camera Assistant, because i plan to begin as a third ac. I'm more of a core guy, interested in ratio, contrast, motivation for lighting, dynamic, latitude, t stops etc.. The core of our work, like really specific light techniques, from Rousselot (lantern) Khondji (negative lighting), more than virtual reality or these kind of things. I like the 90's movies a lot, and i'm really into analog photography amongst others things, like RAW for Digital etc. I wanted to tell you a little about myself, to help you help me. Thanks a lot guys. Hope that it will be of interest for you. (i'm french by the way, please excuse me for the potential mistakes)
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Who can tell me about the lighting of this music video? Speceficly what did they use to get that soft white look? It seems like they used a decent amount of haze. Anyone have any info they can share? Thanks! https://www.youtube.com/watch?v=NUC2EQvdzmY -
So I am filming a SciFi short film called "Bandwidth Creek"on the 15th and I'm having one issue. There is a female playing two characters and I still can't figure out how to fool the audience with this. For instance, she's playing the mom of the main male character in his flashback. The same woman is also playing his room mate whom he is having conflict with. Both characters are important so I can't cut either out. Since the mom in the flashback does not have any lines (just flashback visuals) I thought about just shooting behind her or with her hair over her face. We thought about a wig and sunglasses but come on lol. Attached are some stills of the woman I exported from the rehearsal (playing roommate). Anybody have any ideas?
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So last night I watched the movie Nerve, DP'd by Michael Simmonds and I just loved the high stylized look similar to John wick and Drive but different. My question here is, does anyone know what lights he used. Simmonds placed colorful practicals in the scene that had this neon look to them. Are they just gelled kino tubes or a special light made for this? The actors had this bright neon glow to them. The scene that got me questioning the most about how it was lit is the picture attached where actors Emma and Dave walking into some place and the overhead has these small dangling Christmas like lights with the over exposed ceiling ( but I would not say it's over exposed. More like a neon or black light look that of what you would find glow in the dark arcade). I would love to know how they lit this. Thanks
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Hey all, DPing an independent short come December 9th-11th. There is a small Interior Night scene on location, where I would like to simulate stormy weather outside. I would like to do something like water in front of a fixture, but how can I achieve this? We will likely be using something like an Arri 1K with Urban Vapor gel outside the window to simulate a street light. Won't be shooting towards the window, so the rain effect will just need to be a texture. Also, would like to simulate thunder, in combination with the street lights. We'll have a couple of SPE-6 Flickermasters. How can this be achieved? Thanks ahead of time!
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Hi everyone! I have a job next week were I need to do some day interiors inside an office space. We want the lighting to be flat and have a nice higher key look. Think typical old school office vibe. I understand color temp has a lot do with this situation and my first thought is to replace all the green spiked overhead lights with color corrected Kino bulbs. The issue I'm having though is that the light levels still feel a little low in the space. Should I be adding more Kino's fixtures above people and have some sort of key source as well? This is sort of the look I am going for https://www.youtube.com/watch?v=MzxVqaUS5s4 You can see how they managed to maintain an stale office feel but still make the color very consistent and even have some contrast to the images. What do you think they had for fixtures? Thanks to anyone who has thoughts on this!
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Hello, I need to do a chroma key shoot which will be composited in post. The studio has a white background. Currently my plan is to use CTO gels to light the subject and set the white balance to the white background which will be lit with CTB gels. Then set the exposure of the white background to 100%. Will this work in post? Cheers. -
Hi there, I was recently watching MR ROBOT and there were two scenes which were caught my eye in the way that they were lit, however I have little ideas as to how they did it! I have uploaded screen shots here : https://www.facebook.com/bradley.shaw.104/media_set?set=a.10209473549450552.1073741857.1080325641&type=3 Please if any one could shine some light onto this it would be much appreciated! Thanks, Bradley
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I haven't lit for a photography shoot before. How would I achieve something close to this lighting? I have three kinos to work with. My original idea is a daylight kino from the left and two tungsten kinos from the right and top Any help would be appreciated! Thanks!
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I am prepping a scene for a narrative short this coming weekend ( Shooting Alexa Mini - Cooke S4's) . We are shooting in a rather small hotel room in New York City with a large South facing window. I have One Arri Skypanel and 2 4 foot 4 bank Kinos As well as Arri fresnel units. 750,650,300,2x250. I was thinking of using the Sky Panel as the Key from the window side and possibly using the other units to fill. Depending on the brightness of the day I may need to ND the windows as the director wants to see outside. I wanted to see if anyone else has any thoughts on shooting high up without out rigging any exterior units. The film is quite low key and contrasty. -
I have a Cinemaquest Ideal-Lume Pro bias light to sell. It's in mint condition. My son used it a few times and maybe has 10 hours on the bulb. I bought it new for $379 and still have the original packaging. I'm asking $260. I'll work with you if you can pay with Paypal.
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Hi, I stopped shooting 4-5 years ago due to a sports injury which lead me to working in another field but now I want to start shooting again and I'm feeling a bit behind in the tech, workflow and rusty in my skills. I'm lucky enough to be visiting LA early next year & I'm looking at the ASC Masterclass. I'm concerned it's not really hands on? Is it? Isn't it? I see they're using the Alexa and going through the most current workflows etc but is it mostly learning through demonstration or are we able to get our hands on the tech, lights & set up some shots? Anyone who's done it got any reviews? What did u get out of it? Can anyone recommend an int-adv Cinematography workshop that's very hands on in or around LA? I don't often get over to the US so I'd really like to grab the opportunity. Thanks.
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Hey, everyone! I'm wondering how to light an area. Or, more specifically, how to color-balance it. I'm going to be shooting digital, but I'd also like the answers for (tungsten) film just to know in the future. I'm going to be filming in a particular bar (if all goes well—pray for me, please) which I've built the whole thing around. It has lamp lights and ceiling lights which appear to my eye to be incandescent, or else LEDs which look incandescent (I didn't check in the lamps). There are LED (?) panels which I'm told change color (I plan to work that in). And then there's the light from the night-time street. (I don't know what to do about that one.) I was thinking (thanks to a suggestion from Tyler Purcell) of just lighting the scene with some china balls so that I wouldn't have all that stuff to hassle with, but I'm trying to figure out what I should do. I might be able to replace the lamp bulbs, but probably not the ceiling ones, and definitely not the LED panels (obviously). So do I light the whole scene for the LED panels and then use a filter on the lens? What do I do here?
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Hi, I am a DoP on an upcoming shoot for a pair of commercials but I'm having a little trouble deciding the camera. I'm more on the lighting side than camera so I'm not to sure about which cameras are better than others. I was looking at a few but other than staring at the specs i didn't really get much information. I was looking at the Alexa, Alexa Mini, Red Weapon, Red Scarlet, Sony F3 (I've had experience with very minimal). the commercials aren't highly complicated but one of them deals with aquatic themes and the other superhero FX (such as laser beams and freezing) do any of theses cameras have a better read out in colours, which has the best mobility, do any have any serious problems, and your personal choice or opinion? once again I'm not really up on camera side of things so any information will help! Thanks
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Hey all, I'm coming up on a project where I'm dealing with a lighting challenge and the project is ultra-low budget for a non-profit, so I don't have a big team to drawn on. We're shooting a group of individuals together in the middle of a field near sunset. My vision for the shot and the way the location works best is to put the setting sun behind and slightly off to the side of the talent and fill them in with bounce. I'd love to have a few HMIs out there to fill, but the location is too remote, and doesn't really work for big lights and a generator. I've done this plenty of times when it's just a medium shot or MCU of a single person and you can get a white bounce in nice and close. That's no problem, but for this shot it's a group, I need to fill a larger area and the reflectors would need to be further back. Is there a formula or rule of thumb to estimate how large a reflector surface I'll need to provide a certain number of stops of fill? I need to know if a couple of 8x8s will do it, or will I need more and bigger, or if it just isn't possible and I'll need to scrap or re-imagine the shot. Any thoughts would be appreciated.
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