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Hey there! I'm sorry if this is too many questions at once, but I figured it would be better to just lay my initial questions all out at once instead of peppering them throughout the thread over time. I graduated from college this May with an English degree and a minor in Communications, and I want to go to film school as a graduate student. In order to do this, I need a short film (I'd really like to go to USC). However, my university didn't/doesn't exactly have a cutting-edge film program, so I'm a little flustered. Here's a bit of background about my short film project. It concerns a young woman going to a bar in the early hours of her 21st birthday (it's like 12:08 AM) and ordering her first-ever drink. It's going to be shot without dialog--it will be all body language and sound effects, like a Pixar short, if that makes sense. I want the look of the film to be "objective" (I know that's not a real thing in film) except for a couple of wide-angle shots and a deep focus shot which pulls back over the bar to establish that she's in a bar (if there's a way to do this without deep focus, let me know). I'd also like to do something like this shot from The Music Man (https://youtu.be/CC33O52pGUg?t=2m43s). I don't know how they did it, but I suppose you can cheat it in post if you're a good/patient enough rotoscoper. Anyway, I was looking into what kind of camera I should use to film this project. I've saved up a bit of money and I want to get the best camera possible for the job without requiring me to learn a textbook-worth of information or have tons of hands-on time with the camera before I use it. Since I'll be filming in a real bar (sadly, I haven't saved up enough money to build one from scratch on a soundstage) at night, there will be low light and the possibility of competing color temperatures (since I can't exactly tear out any lights). I'd also prefer to go for as filmic a look as possible. I would shoot the project on film if I could, but I super-don't know enough about film to do that. For this reason, I was looking at either the RED camera or the ARRI Alexa XT. After reading about the RED, I came away with the impression that it was a very particular camera that had kind of a steep learning curve, and that the ARRI Alexa XT would be much easier to shoot with, although I don't know if it's easy enough. My experience has mainly been with that one miniDV Canon SD prosumer camera that everyone had. I also would like to shoot Open Gate ARRIRAW for the project to maximize the pixel count for upscaling to 4K. Since I live near Atlanta, I'm looking at renting from here: http://pce-atlanta.com/. Here is their list of cameras and lenses (PDF): http://www.pce-atlanta.com/pdf/Camera%20Catalog_4_8_2013.pdf. I'm going to be renting the camera and lenses for a weekend. So my first question is: how feasible is this? Especially as I've never used the Alexa before and I'm not an experienced color corrector. Can you just drop ARRIRAW footage into the free version of Da Vinci Resolve or Adobe SpeedGrade and get good results just by messing with a few presets, or is it going to be a month of tedious work? Because I don't have the time to devote every day to it, especially as I'll also be doing foley work. My second question is this: ARRIRAW is flat footage, correct? So how do you know how the colors are going to look when using the monitor? My third question is: how much is that Codex docking station that plugs into the USB 3.0 connection on a MacBook Pro? I've been unable to get a straight answer from their website. And do I need to buy a software license to transfer the ARRIRAW files to a hard drive using it? My fourth question is this: what kinds of lenses should I use? I was thinking of just getting a zoom lens, since that would be cheaper, but would I be able to pull off that deep-focus shot with it? And ARRI's website tells me that shooting in Open Gate ARRIRAW can be a problem because a lot of lenses don't fully cover the sensor area. Do any of the lenses on that list qualify? I'd rather not abandon the Open Gate part of my plan, but I'd sooner abandon it than abandon the Alexa XT (although if I weren't shooting in Open Gate ARRIRAW I guess I could switch to an Alexa with the XT module), so if I have to, I will. My fifth question is: do I need to get a new tripod? I mainly have the kind which you can use for still camera work or for that relatively light Canon prosumer camera I mentioned. Is the Alexa XT a heavy camera? My sixth question is: lighting. I don't understand it. I have a lot of questions about it. I'm considering just using the available light for this reason. For instance, I understand the three-point lighting method (or I think I do, anyway) and I understand how it's easy to do in close-up, but what happens when you cut to a long shot from a different angle, exposing where the lighting rigs would be? My seventh question is: how do I keep it from looking like TV? Let me elaborate on that. I initially thought that aspect ratio played a part in making TV look like TV, but Better Call Saul looks like a movie to me, and Witness for the Prosecution, mistakenly presented in 16:9, looked like a movie as well--not like TV. So my theory is that it has something to do with coverage and composition (and maybe editing and lighting, too). I want my short film to look like a film. What are some common pitfalls I should avoid if I don't want my film to be mundane? I think that's it for now. If you guys could do me a favor and keep checking this thread, I'm sure I'll have more questions. Thank you so much for your time. Also, please let me know if in the future I should make separate topics for questions with separate subject matter. I just didn't want to clutter up your forums.

I had a shoot coming up. essentially shooting a tutorial film of a makeup artist and model. The idea is to create a set that has texture and elements that break up the space (from foreground to background) camera A with be on a slider and cam b will be on a jib. We are thinking of trying to emulate something similar the picture attached of an installation. I understand that maybe the best way to achieve this is to pull the bulbs from some kinos, which I am currently creating individual tube holders for, unless there is a better suggestion. I am concerned about hiding grip gear and the wire harnesses, but that can be resolved. What kind of fabric/material would anyone suggest for the partions, which the lights and sit behind. The material should let the bulbs retain their shape and not diffuse the source into a blob... Really any suggestions to best achieve a similar look. Note** the shoot will be in a studio with a white cya so the material serves to break up the white background which will probably be hit with a diffused joker.

Hello everyone I've been hired to shoot a 30 second advert for an electric scooter, my director and the client are hoping to make something very similar to the first 25 seconds of this advert: Firstly, I can't tell if the first few shots in this advert are of an actual scooter or if it's a 3D rendered model, what does everyone else think? We won't be filming the scooter moving at all, it will just be a sequence of closeup product shots in which the scooter remains stationary with lots of lights reflecting off of the surface of the scooter until the last shot which will be a wide reveal. This is the first time I've filmed anything like this, and I was hoping that the good people in this community would be able to give me some advice on how a look like this could be achieved or maybe point me in the right direction so that I can do some more of my own research? Unfortunately I am working on a very small budget, so I'm afraid lowest cost option is all that is available to me. Many thanks, Josh

Hello All! I am just discovering this resource and loving it! Thanks to everyone who contributes such great information. I am an in-house San Francisco Bay Area DP at a production company called Corduroy Media (corduroymedia.com) and wanted to float a lighting set up for the group. I am working on a commercial for a tech client that takes place in an industrial, abandoned warehouse. The director and I settled on a moody vibe with strong shafts of light and strong edges on our characters. Because of the VFX involved and because we are shooting on the RED (a noisy camera in its own right) I want to be at f8 and IS0 400 for the show. Attached is a scout pic and inspiration images. My thought to get the look is the following: 3-4 Xenons outside kicking through windows with heat reducing gel/straw for warm glow DF50 Hazer 1 joker 800 with small softbox on menace arm for top light- key on actors 2 joker 800s on menace arms for strong scratch on actors (I was also thinking of turning these into jo-lekos) Any other thoughts? I am concerned about having enough value in the ceiling, but I think the Jokers/Xenons would bounce enough light from the ground to see the metal beams. Cheers, Sean Donnelly

I was watching Matt Workman's discussion about a Pantene commercial and saw the use of a Breise forcus 140 as a key light. Is there a poor shooter's semi-version of a Breise that gives a similar look? I work in a market where there aren't many large budget commercials, so a Breise basically doesn't exist here and no one is going to pay to truck one down from L.A. I did like the silver stipple on hair look, so I might try that on a web series sometime soon. Thanks for that Matt. Stuart --------------------------- illuma.blogspot.com

I've been studying all my weakest points when it comes to cinematography. Im trying to make it all stick subconsciously, or at least most of it. By far, my weakest point is lighting. I've watched Shane Hurlbuts "Illumination Experience" videos, but thats not enough for me. I need to start with the basics. I want and need to know why and how to light a certain scene. Like some sort of blueprint to start with and venture off from eventually as I learn more. Does anybody have some suggestions on books I should pick up, articles to read, or videos I should watch? I actually have a degree in Digital Cinematography but I didn't learn nearly as much as I needed to. I know there are a lot of professionals here who can point me in the right direction. This forum as been gold! Thanks in advance.

Hi Guys, How would you achieve this flawless product lighting? I realise the background is green screen so just a couple flat tops either side. Thoughts on lighting for the actual product though? Cheers, Chris

I'm going to be shooting a Super 8 horror short with the Canon 1014XL and Kodak TRI-X B&W Reversal Film 7266. I did a pre-light at the location using an external light meter with specs of 160T and shutter 1/30. I got readings 2.0-2.8. We will be shooting at 24fps for digital transfer. My question is what is, what is a good shooting stop for Super 8, which will be transferred to 2k? <_< Nate

Hi guys, I've got a project coming up filming a cookery video. There's no budget for big HMI's to punch through the windows so I wanted to ask what other solutions people were using when you don't have access to the bigger lights? The sun will be on the other side of the house so I don't think we'll be having to work against it which is a slight bonus! We're shooting between 9am and 4pm. There will be a presenter/chef stood just behind the chopping board for the duration of the video talking to camera and going through the recipe. I want a relatively bright, daylight look with a nice shaping to the face (the presenter is female and around 40). We do have money for a couple of smaller lights but can't rig them outside unfortunately. Thanks in advance for any advice you have! - James.

I need some suggestions on how to light up this scene. (This scene will take place during nighttime) We will have some wide shots and a Over-the -shoulder shot between the receptionist (who will be sitting) and the guest. We want it to be warm and inviting. Maybe add more lamps? Blue gels to fake moonlight? Im sorry I took these during daytime. Wide Reception Area - The main area We have access to some dedo lights,LED,Arri (300,800) and KinoFlos (4 Banks) I really want to thank you in advance. :)

Hi, I was curious if anyone has any guesses on how exactly they achieve this seemingly simple overhead camera shot, as far as lighting...especially on a white table top like this? https://www.youtube.com/watch?v=tgmhi0Vi9oo Is it just one large source from the upper left? Is that light higher up (vertically) or around table level or...? Is there likely a fill light from bottom right, or just some bounce to fill in? Is it likely lit over the top as well? Its just pretty even looking... Anyways, just curious if anyone has achieved this look before, or has any thoughts on how best to do it? (Obviously while still allowing room for the camera rigged from above...and also the hands entering the frame from different angles, etc.) Thanks for your thoughts.

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 to ship it in. I'd like to get $325 for it plus shipping. Let me know if anyone's interested. Thank you.

Hello, I have been trying to research with little success on using projectors and high frame rates. I want to shoot 96 fps. With a projected image in frame. Would an LED projector allow filming at different frame rates/ shutter speeds without having flicker? And also having to consider output of the actually unit to get an image exposed when going to the higher frame rate. Or if anyone has worked with a specific projector that they recommend would be great or any good resources on this would be awesome, I have come up fairly empty handed and talking with some local projector rental companies to no avail. Thanks in advance Zach

So, I just got a gig where I'm shooting a sushi chef making sushi, and there is mainly focus on showing the food. There will be a lot of close-ups and macro shots. I believe we are going for a high-key type of lighting. There is some ambient lighting from downlights in the ceiling, but it's far from enough. I have access to fresnels and dinos. Would something like what I have sketched down work, or should I go about it another way? Keep in mind the 85mm might be moved from side to side a bit. Thanks!

Hi everyone. I'm looking for advice on lighting interviews with a tiny crew (2-3 people) out at sea on a small 30-40ft boats. I'm frequently booked on these gigs but I find that 99% of the time I never dig the look of the interviews. It's always a matter of finding what looks the least bad. For most EXTs (on land) I'll backlight and try to shoot into a BG that's in the shadows...but of course on a boat there aren't any shadowed BG's, except maybe a tiny part of the deck. Most times we end up settling for front lighting the subject and holding a foldable silk to diffuse the light a bit, but even then the BG is well over key. At least that way the talent and BG are both reading okay to camera. It also doesn't help that typically the entire boat is painted a hot white and constantly rotating in relation to the sun because of heavy winds. Sometimes I shoot up in the pilothouse but that's proved the most difficult- even after ND'ing the windows I can't get nearly enough level on talent without blinding them. Are there any general best practices for this type of lighting?

I recently enjoyed watching HUMAN by The Movie by Yann Arthus-Bertrand, and was struck by the diverse locations as well as the diverse yet strange unified lighting theme. Using a dark (black) background Bertrand has literally focused all our attention onto the face of the moment. With mostly natural, frontal (sometimes toppish) lighting, which is virtually shadowless, every pore, freckle, line and emotion is bared front and center for us to soak in. Does anyone have any thoughts on the why, how and what on this? Has anyone tried to recreate this? All Images © HUMAN by Yann Arthus-Bertrand. All Rights Reserved. Source: http://www.human-themovie.org/

Hey guys, So I'm trying to find one of these to rent for a shoot in Savannah, GA: http://modernstudio.com/pipe-spinning-gag-58/ I've also attached a couple set photos of something similar in use during one of Alex Buono's workshops. The local rental house doesn't have it and the guys at modern studio haven't gotten back to me yet. Does anyone know of a rental house in the southeast or anywhere in the US that would ship it for me? Also -- I'm pretty sure all of those units are running to a central battery via D-tap. Am I right about that? If so I would also need a d-tap splitter to power all of the units right? Thanks so much! -Ben J

Hey. I am looking into some advice on hazing, both indoors and outdoors. So, I have a restaurant shoot tomorrow, and I really know the opening scene would look much better with haze, but the restaurant opens 2 hours after we are done shooting. Does anyone have experiences with this? I am rigging a 5k Dino through diffusion, and a smaller LED panel. Now, not really related. How does one go about creating a hazed environment outside, where there might be wind?

Hi, new to the forum, and so far it's been a really great learning experience. Anyway, I was wondering how any of you might go about getting a similar quality of light from this shot in Grand Budapest Hotel on a budget? The project I'm working on mostly takes place in the kitchen of which I've included pictures below: I'm pretty young and I usually just reserve myself to writing and directing, but I thought it might be a good experience to try to DP one of my projects. However I could use a little guidance as this is all rather new to me still, but I did have a few initial ideas. I plan on putting up white curtains as the view outside is rather un-cinematic, and because I feel like it will add to the main character's feelings of being trapped. I don't have much of a budget, the brightest lights I could rent are probably a couple of 1K tungsten lights. However, I plan on using my 5D mark III with ML Raw, so I can go up to 1250-1600 and get a pretty clean image, and I tend to like to shoot between an f.2 - f.4. My nearby rental place does have a set of 2 x 1K Arri's and an Arri 650w open face that are decently priced for the week. I could possibly try and rent a few other smaller tungsten lights as well. I was thinking about possibly going and blocking out the sun with some black cloth draped over some C-stands on the deck and then setting up one of the 1K's in front of it to light up the white curtains acting as the sunlight. My thinking to do this is so I can keep color temp consistent, and so we don't have to worry about clouds coming in and out all day. It would also help keep consistency as Minnesota weather can be rather unpredictable, and it will be a 2-3 day shoot. From there I was thinking of using the second 1K as my key for the subjects as most of the dialogue happens in singles, probably bouncing it off of maybe some muslin or setting up a cheap book light scenario. Then finally using the 650w either for fill or for bouncing off the ceiling to raise ambient light levels. Anyway, I know that was a lot of information, but I was just wondering what any of you might do to get a similar look on the cheap all while trying to keep it consistent over a couple of shoot days. That was my initial idea, but I'm still not sure if that would even work as I've only been studying this stuff for the last couple months. Looking forward to hearing any and all ideas!

I'm just wondering if anybody could break down this scene in terms of lighting for me. Im shooting a short film for somebody next week and would love to achieve this sort of lighting set up. what i'm looking for is Light ratio Temperature softlight/hardlight Colour Gels Filters Lights that are believed to be used colour scheme Practical lights lighting position If anybody could help me out it would be greatly appreciated Thanks

Hey everybody. This is my first post :) I wanted to get everyone's opinion on the lighting for this scene, and how Janusz Kaminski may have accomplished it.

Hi all, I just wanted to know everyone's thoughts on using either a Helium balloon/ Sausage lights (attached) OR A Dino (maybe x2, one either end of a set) Using them as back lights, & fill. (Firelight is the key light in most scenes) Or maybe even Softboxes from cranes? Which are better for moonlight? I am filming a scene in the middle of an old medieval town centre (imagine Magnificent Seven gun fights) I'd ideally like to use a balloon light as the ambient light and then the Dino's as backlights, but as its a low budget feature I have to chose between one or the other. I'm leaning towards using the sausage light on a condor, and then just using some HMI's etc as backlights closer on the ground to the actors (so easily movable).?!? COMPARED TO/ 2x Dino's (on condor's) at each end of the town, so a back light whichever way they go. OR I could use Just x1 Dino as a side light, much like the balloon/sausage light.?!? What are people's thoughts?

Hello guys ! I'm new to cinematography and I need help about the ideal use of kino flo light ? thanks in advance

Looking to purchase a 3 to 4 ton Grip truck ready to go with lights.

I was wondering how you can achieve this more yellow tone lighting through practicals and or through studio lights such as tungstens/HMIs/LEDs/ect which removes the orange. Camera Color Temperture setting would be helpful as well. Here is a example of what I saw in Upstream Color