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  1. I'm about to shoot a music video in a month and I'm looking for an old school device that we used to call the decapod. There were a bunch of versions of it, but I think the final version available was made by mole richardson. It was like a maxi brute made from mr-16 lights. Here is a 2008 article about it (it's most of the way down the page). http://icgmagazine.com/2008/march/ttmarch08.html Has anyone seen one lately? If I'm not able to find the old decapod, I'll likely have to use a giant LED strip or matrix. Does anyone have experience using those? What might be the most cost effective version of that? It would need to be able to pulse on and off all at once and I'm probably need 4 of them if they were like 4' by 4'. Thanks so much!
  2. Hey again! I'm looking to shoot a short film this coming April and, being as inexperienced with lighting as I am but faced with a really ambitious (at least for me) lighting setup, I was hoping to consult the expert advice of you amazing people on the forums for some advice and help. 1. Most of the film will be set in an abstract black space (blackout studio) and while the studio I've gotten has got white floors, I'm looking to cover that with black duvetyn cloth / black bedsheets - would this work? Here's what the studio looks like: https://www.dropbox.com/s/okuqt7sr8c8iov3/12499541_10206199476526021_995253027_o.jpg?dl=0 2. When the main character first appears in this black abstract space, I am looking to create a shaft of light that comes through what should be big double doors (in this case, they are those doors in the above image - and I will probably black wrap the exit sign) and shines on our main character. There will be 2 shots to this set up: 1 is a high angle shot from a jib, creating a sort of almost german expressionistic look with a sharp beam of light across the floor 2 is a tracking shot from behind our character, with the light from the doors serving as a really intense backlight and casting him in silhouette (although I might also have the option to bounce some of that light back to fill him in). If possible, I'm looking to do a hitchcock zoom with this move as well. **See lighting diagram below as well as reference images . ***Btw, I am shooting on a micro 4/3 camera so lens lengths are for that format. https://www.dropbox.com/s/su7gt5hjcrztg5t/129854724.jpg?dl=0 https://www.dropbox.com/s/pi7lzeczvyj7vdt/4x07-Cold-Grey-Light-of-Dawn-true-blood-24392755-1024-576.jpg?dl=0 https://www.dropbox.com/s/e3h2xofvy6ypjwt/139486149.jpg?dl=0 My question is, what is the lowest wattage light source I can use to achieve this shot, bearing in mind that I am unfortunately on a shoestring / absent budget. I was initially thinking of a single 1.2k HMI or a PAR64 to get that focused beam of light but what do you think? 3. Following from that question about lighting in a blackout studio, I am looking to shoot a couple shots in such a way that the talent walks into a pool of light and becomes visible as he does so, disappearing again into the darkness as he leaves that pool of light - see diagram Now, I'm thinking of suspending a 1kW Jemball chinese lantern light to achieve this. The studio does have an overhead grid already rigged up and perhaps this might allow me to use more focused lights like a 1kW fresnel? 4. This is a question about photographing snow from a snow machine in the blackout studio. I'm having a frontal shot of my talent as a snow machine blows straight at him as well as another overhead shot of him on the floor while some snow slowly falls onto the ground (see reference) https://www.dropbox.com/s/e517fpdn9lbjo2l/movie-inspired-fashion.gif?dl=0 To have the snow show up, I'm thinking of having a light on either side of the camera punching through some diffusion such that the middle area where the snow is travelling can be seen (as well as the talent). But what do you think? 5. Finally, this is a question about filming at a swimming pool. Basically, I have the character falling into a pool of water and I will be underneath with a GoPro capturing this (unless I can wrangle an underwater housing for my A Cam, a panasonic GH4). I understand that anything to do with filming underwater is a huge pot of health & safety dangers but ideally, I would like to be able to shine a light where my talent will be falling into the water, such that from below where I will be filming, he would be cast in a silhouette. It will be sort of like this image: http://il5.picdn.net/shutterstock/videos/8623750/thumb/7.jpg?i10c=img.resize(height:160)but the talent will be partially obscuring the light source. Would be great to hear from you all if anyone has any experience doing a similar shot? Thank you so very very much for your help and sharing your knowledge!
  3. I am working on the new fourth edition of "Lighting for Digital Video and Television," published by Focal Press, Here is a link to the third edition on Amazon: http://www.amazon.com/Lighting-Digital-Video-Television-Jackman/dp/0240812271/ref=sr_1_1?ie=UTF8 The 1st, 2nd, and 3rd editions have been extremely good sellers and are used as textbooks for many college filmmaking/television production courses. I am seeking good behind the scenes photos of actual lighting setups, especially those that demonstrate a solution to a problem. Even from my own productions, it's hard to find good BTS shots that show lighting unless the still photographer has been instructed to capture that -- most BTS show actors and camera, but very little of the lighting setup. This edition will substantially expand coverage of LED instruments, which of course is an area that has exploded in the last decade. The 2010 edition showed studio LED panels, but other LED instruments such as we have now didn't really even exist. So also interested in photos that show use of LED instruments. No pay but full credit for DP/lighting director whose setup is shown and for photographer. Contact me at john@inspiratafilms.com. Thanks!
  4. Hello Everyone! First time posting in the forum, don't know if I'm doing it right but after being a fan of the site I figured I'd actually ask a question for once. Currently working on a Youtube Channel for a friend of mine, and started looking up people I admired at least from a lighting standpoint. This youtube channel would be lower budget and shot inside my friends home. So house power is a must as I'll be low on funds and manpower. Attached below are my references, (Braless and Decoded) was wondering about how to achieve this look and what lighting do you think was used. Most likely it would be shot on the BlackMagic Cinema Camera. Any input would be greatly appreciated. Much love - Armani
  5. Hey guys, So as most of these post start out, my budget is slim to none. Now that that aspect is out there. Im DPing a short that takes place in a car at night. the two characters in the car are being followed because of something they have and they are trying to get away from whoever is following them. Thats where the "chase" aspect comes into play. Its no James Bond chase scene but need to feel like they are trying to ditch the car following them. The short is only 5 mins long and will take place half in urban/city area but they head to a more deserted beach area. The picture attcahed is the tunnels location we will shoot EXT shots of the cars driving out of the city. So for all the shots of the two actors in the hero car we would have to mimic the lighting to match what our location offers, multiple sodium vapor lights overhead. My biggest question is how I could go about shooting this section of the film to achieve the following... 1. See the actual tunnel when we have shots looking out windows (rear window, side windows, and front windows) 2. Match the lighting of the tunnel as they pass through. Theres the green screen option where we could shoot the scene. Then take those camera setting (lens, focal length, height etc) and then shoot plates. I feel there is alot of room for error with this option We rent a car trailer from uhaul and rig everything and shoot it practically that way. (cant afford a process trailer) Only issue here is the budget is so small i dont think they could get the permits for such a thing, feel like they could get in trouble having actors in a car on a trailer without proper permission, permits, police escorts, etc Lastly we have the actors actually drive the car through this area rig cameras to the car and have them drive safe and we sell the chase part in the edit. Sounds the easiest but biggest worry is safety. There are alot of factors with shooting car stuff. I appreciate you guys taking the time to read this and help out!! Cheers!!
  6. Hi Guys! I've found some decently priced Source Fours (HID 150w) and I'm looking for anyone with experiences or opinions on the HID version of the source fours. I understand they are not dimmable and have a cri of about 85, so I'm debating whether to purchase the more expensive tungsten version or get the cheaper HID version available. I plan on using them to create "harsh daylight" through windows and maybe as a bounced key etc. Looking for any thoughts/experiences/suggestions. Thank you.
  7. This weekend I'm gaffing for a shoot with CG fireworks. I was wondering if anyone had some tips on simulating light from the fireworks onto onlookers. Thanks!
  8. Hey y'all, doing a pretty simple lighting setup where the artist wants to emulate / make an homage to Fiona Apple's Criminal BTS where the director actually talks about the cinematography here: They wanted to emulate the red-eye flash look in video, which I understand is easy enough to do with a tiny source coming from the same direction as the lens as possible. Ringlight is too big and soft. You can see in the video reflections the single source, and I believe there's one moment where it's clearly reflected enough to see a bare edison bulb. This is easy enough to do with a small flashlight strapped to the lens with a tiny bit of diffusion on it, but I want a little more control/dimmability. The tungsten Dedolight seems like the best solution, as it's tungsten, small, camera-mounted, dimmable, and can be powered with a battery. However most rental houses seem to only rent these in large sets and I only need 1... There is an LED Dedolight that could work, it's gotten good reviews on its color temperature, but I'd try to stick Tungsten if I could. I'm really inspired by the Profoto's Hardbox, a flash accessory that is designed to make the point as small as possible. If anybody had any advice or ideas besides getting a dedolight, I'm all ears.
  9. Hey Guys, I'm an aspiring cinematographer and I am wondering how best to spend my money to invest in this field. At first, I was dead sent on buying on new camera (looking at the A7s II or the Ursa Mini); however, I have now begun to consider investing in lighting equipment, and opting to rent a camera whenever the need arises. Basically I'm torn: For $3,000 I could buy just a camera body, or I could get an Arri lighting package (x2 150w, 300w, 650w, 1k) and two 4' 2-bank kino lights w/ ballasts off of Ebay. My questions are: Can anyone provide insight into what would be the best and most beneficial course of action? I also have another question based off of the Kino lights: is the output of a 4' 2-bank Kino the same as the output of a 2' 4-bank Kino? What are the benefits to either or? Lastly, is there a better investment I could make that isn't a camera or lighting equipment? Thanks again, and any insight will be greatly appreciated! -Sam
  10. Hi there, I was wondering what is the best way to light a scene towards a final look like those pictures in the nightclub from the TV series Lucifer (very nice new show by the way !). What I like is the greenish background while still keeping the skin "somewhat" natural. Of course there is also heavy grading at play here and would appreciate input on this too. Moreover, is this the same technique for Amélie Poulain hereunder? Thank you very much ! Ron.
  11. Hi, I have to light a submarine that goes under attack from a sea creature, I want to want to replicate the intense red lighting similar to Das Boot and Wrath of Khan (I've attached photos to show what I'm talking about). I recently acquired a few 789 Blood Red lee filter gels to replicate the look. but not really sure the best way to go about it. I have access to some 4K HMI's, 2K Arri Fresnel, and 2K Mole Richardson scooped soft lights. I also have a few Arri 650's and 300's for extra fill or spotting. the set is in a studio, roughly 8x16 I'd like to also create a mid range depth of field, I'm using old school Christmas lights on the control panel to give the controls colour, but want them out of focus enough to not be able to tell they are Christmas lights but enough to see the emitting light. If anyone has any tips on this it would be appreciated as well. Thanks so much!
  12. I've been bought onto a music video as DOP super last minute, and literally have a few days to location scout and plan everything. I've had to put a lighting rental list together without even seeing the locations which is crazy, although i've seen photos and have done my best to understand everything. The music video is going to have a high key american high school feel to it, we are shooting in the UK so in terms of production design theres a lot for the art team to do. One of the locations we are shooting in is a hallway of lockers, it's quite short, about 20 feet long. One of the scenes that the director has asked me to light involves a practical light change from being low key, to quite a lot of daylight/sunlight entering the hallway. I can't seem to attach our location photo due to file size, however above our lockers is a 3 foot gap leading into another room. My plan is to place my lighting in that room, creating an artificial row of windows above the lockers. These windows will be out of my shot, just above our top edge of frame. For my high key daylight look, plan to make use of a 1.2kw HMI, along with a couple of 250 HMI pars through trace frames to fill the hallway with daylight ambience. Shooting at 5600k in camera. I then plan to have something like a 650w tungsten through a window shaped cookie, casting a beam of warmer 'sunlight' along the back wall of the hallway, and probably another smaller tungsten unit doing the same towards the foreground of the hallway. A fairly basic 'skylight' and 'sunlight' setup I suppose, it should look natural. Potentially a little bit of atmos to diffuse the tungsten lights. For the low key setup the idea is that the windows are now covered, as if the blinds are down, and only the internal lights are lighting the set. I will probably turn off the actual practical lighting, and make use of my own. The plan is to mega boom a 4ft 4 kino over the top of the lockers, so it is position lengthways down the corridor as a top light, lighting only a portion of the hallway. Potentially a very soft fill coming from just above and behind the camera to light the set a few stops under what the kino is doing. Below are some random examples of lighting, not exactly how I plan to make it look, but a clear representation of the difference in lighting between the two setups. Now the tricky thing is that the director wants to try and do a practical change from our low key setup, into the daylight setup, during a key shot in the scene which is a close-up of the female lead in the music video. It doesn't have to look natural in any way, just needs to be an obvious change. I'm thinking about having the tungsten lights on dimmers, and then flags in front of the HMIs that are then swivelled away during the change, flooding the set with the daylight ambience. I really haven't done a setup like this before, especially with kit like this either, so would love to hear how others have achieved this kind of change in the past. Im looking forward to reading the replies.
  13. Hey guys, Any ideas on how this scene was lit or how would you light it its from a recent apple commercial? Appreciate any feedback. Cheers!
  14. Hey all, sorry for the novice question but I've seen a few times where someone will be holding a screen next to or behind the steadicam operator. What is the purpose of this? It doesn't appear to be affecting light from what I can tell. I've attached a BTS pic from The Intern as an example. Thanks!
  15. Hello everyone. I have question for the helpful people of this forum. Lets say i have a cool white LED light(≥6000K). As many of you agree this temperature is a bit disturbing for the eye.( At least to mine.) So, my question is which filter(s) should i use for to balance it to 5200K? Thanks for your attention.
  16. Hello everyone, I have a shoot coming up that involves a family interacting in a kitchen. We are building a kitchen set on a stage and the idea is to shoot the family throughout different times of the day-morning, midday and evening. I have to figure out a way to construct these 3 lighting setups without a lot of down time in between each setup (since we are on such a tight schedule). I have a pre-light day so ideally I can work out all the setups ahead of time and hopefully be at a point where I can just switch lights on and off or bring in fills and whatnot when needed. I have a good amount of gear-3ton tungsten(no hmi's), 2k's, 1k's a 5k, some source 4's.... Camera is Sony F55 Most of the action takes place in front of a kitchen sink with a window directly above it which is where I can work in the motivated light for the scene. My biggest conundrum is figuring out a good seperation of morning vs. midday. The director doesn't want to go moody so essentially it will have to be a more filled in scene which can make it harder to differentiate between the times. My initial thought is to have a large bounce through the window as a soft skylight and adding in warmer, harder shafts of light (source 4's) for sunlight. I would position the source 4's at a lower angle for the morning, and then raise them up and take the warmth out for midday. I will also have a ceiling brought in to help with natural spill for daylight (stretched muslin likely) For evening I was going to work in practicals (under cabinet LED strips) and china lanterns that would simulate overhead light fixture. Maybe a soft hint of blue moonlight from the window (although I have a hard time doing that without it looking artificial) Would love to hear any other ideas from the community as to how I can do this most efficiently while still getting a natural feel to the environment. Thanks for taking the time. This is a a wonderful resource for all of us in this field.
  17. I'm into commercial photography (as a hobby), so yesterday I decided to take some random shots of some bottles and cigars found at home. Since I don't have any lighting equipment, I used desk lamps and a construction light. Tried to match them with CTOs though. I didn't fill any glasses because I was not willing to drink or throwing them away, and since they're only tests, it doesn't really matter. Please give me feedback on lighting, setups, and post, as I would really like to get a job as a commercial photographer. Thank you in advance. https://drive.google.com/file/d/0BwHns6JAzPghdnBoMndPSG40SDQ/view?usp=sharing https://drive.google.com/file/d/0BwHns6JAzPghblVjczhvdm1ZcVk/view?usp=sharing https://drive.google.com/file/d/0BwHns6JAzPghM21GNjhHMXVxeVk/view?usp=sharing https://drive.google.com/file/d/0BwHns6JAzPghNTY2alVram1vREE/view?usp=sharing https://drive.google.com/file/d/0BwHns6JAzPghMHRZRzkxeVFQcWs/view?usp=sharing https://drive.google.com/file/d/0BwHns6JAzPghZXpyaE9SWlQtbEU/view?usp=sharing https://drive.google.com/file/d/0BwHns6JAzPghRDZ1Vk1BMnJ0amc/view?usp=sharing https://drive.google.com/file/d/0BwHns6JAzPghSGVXS0UtVFRKcGs/view?usp=sharing
  18. Hey everyone! Cinematography student here looking for some advice on an upcoming project. I've got a short sci-fi piece coming up for which we are planning to build a set made of fluorescent or neon tubing. This is what we are going for: static.dezeen.com/uploads/2014/12/Bentle... To make things more FUN ... we are also hoping to use "glow" contacts and UV paint on the actors (we are trying to find a way to make them look like they have been inhabited by light and are now almost emitting light). So, I'm looking for any and all advice regarding these subjects! - Is it possible to film fluorescent tubing without flicker? If so, which bulbs would I need to get? - If fluorescent tubing is an overall bad option, are there any other types of light I could use for this effect? I looked at neon tubes but they are insanely expensive. - Would UV paint be a viable option for making the actors "luminescent" or are there other options? Any and all advice on achieving these effects would be GREATLY appreciated!! We will be filming with a Red Epic and I do have a decent amount of other film lighting available for fill but I need the tubing on set to and the actors to really glow! Thank you!!!
  19. I'm shooting a poor mans driving scene in a couple of weeks time, it's for an experimental cinematography unit that I'm doing for part of my film degree. My plan is to have the car appear as if it's driving down a street at night. For this I'll be using a soft moonlight key, along with various sodium gelled lamps, a mockup traffic light made up of 3 dedos with coloured gels, and various lamps swinging and swivelling replicating passing cars etc.. I want to do a practical lighting change as if the car has driven into a tunnel. I plan on just having everything on a dimmer, so i'll dim down all of the sodium lights, and dim up a side daylight balanced light shining into the car, with the addition of poly on the other side for fill light. This will be the ambient light from the tunnel, probably a dirty kind of daylight, for the cheap fluorescent look, i'm thinking like Rotherhithe tunnel in London. My main question is that I want to achieve the effect of passing overhead fluorescent strips reflecting on the cars front window screen. I'm aware that this might be achievable in post, however for the sake of trying, I'd like to see if it would be possible to create this lighting effect practically. An idea I have is to use a single fluorescent tube (either a kino 1 bank, or a cheap shop bought tube) rigged above the car as if its on the roof of the tunnel. Then I would have a spark simple move a cookie along the light, and have the light switch off, then reset have the same movement again. Just wondering if/how anyone has done this effect successfully in the past? Thanks in advance for any replies, I appreciate the support on this forum a lot!
  20. Hey I just wanted to start a conversation about the new Arri SkyPanels and see what everyone thinks about them. Feel free to point out things to improve on, things it does well, etc. I just bought one of the S60-C fixtures and have been finding lots of ways to use it. A lot of DPs I work with have been digging it too. For me the selling factor is control. Very quick and easy color and intensity tuning, and an extremely wide range of adjustments at that. I try to have DMX control of everything too so this unit fits in perfectly to my Luminair workflow. There are a few small things I don't like: color can be skippy when you're doing through hues. The intensity knob is weirdly sensitive sometimes and very unresponsive other times. Unpredictable. Also I tried controlling my fixture via RJ45 instead of DMX recently and I got no data. Not sure why it didn't work. Let er rip! Drew Valenti Gaffer - LA drewvalenti@gmail.com
  21. We sell dimmers for incandescent lamps, 3 different models. The smallest one up to 3kW (able to work with an Studio 3000W) The bigger one (at the moment) is up to 7kW with double output. 16A + 32A plugs and the dimmer works with two lamps at the same time (up to 5kW + 2kW lamps) The Flicker Dimmer is up to 3kW and it has the capability to generate flicker for special effects The small dimmer cost £99, for more info you can check it in the website www.strikedimmers.com
  22. Hi there, I am going to be shooting a music video using ultra violet lighting as well as standard strobe lighting. I wanted to know if anyone has used certain uv lights before or is there a way to shooting using tungsten lights with something like the Congo blue gel. This gel takes out a lot of light so i was wondering how i could match a 2 or 4k using this gel. Also is it easy to mix the to types of lights or are there any major problems I could run into? Examples of other work attempting this would be grab too. Thanks Ramzey
  23. Hey everyone, My first post on here and fairly new to filmmaking. I've got a project coming up and I'm unsure about what lighting to use. It is for a Christmas advert which will feature a kid in a living room with a fire place. The desired look is warm, low lighting as it will be set at night. I'm will use the minimal practicals as the main visable sources of light. I will have the fireplace, some candles and a lamp which will appear as the main source of light. I'm going for very soft and warm lighting. I was thinking maybe just one kino flo with a gel to make it a bit warmer If anyone would recommend a lighting set up for this I would be very grateful! Thanks
  24. We need to to light an office dialogue scene set in the 70s. Will keep desks and stage the rest with 70s era supplies/equipment. Ceilings are 8ft and fluorescent lit. Any suggestions? Stills of two offices that will be used below.
  25. I've been following this guy's videos for a while now and he's built a few things such as lighting gear for very cheap but nothing I had never seen. In his last video he shows how to build a light panel that aims to simulate a window, from old laptop screen. I really think that this is something that could have many applications for filmakers on a budget. The result seems very soft and close to what you could obtain with very expensive gear. Maybe there is another type of DIY gear that is close to this one but anyway, this is the first time I see something like that and I think it's awesome !
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