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Hi, I'm looking to create some lightning effects for a short film with the use of studio strobes. We don't have the budget for lighting strikes and this seems to be a viable option. We'll be shooting inside a house on RED scarlet. 180 degree shutter. 23.98fps. Wondering if anyone has used still photography studio strobes for this purpose? If so, can you share any advice or experience? Thank you, Michael Helenek

Hi guys, Just wondering if anyone has had any real contact with the new Mole LED Fresnels yet? I'm very interested in getting a couple of the 400w Studio Juniors in daylight - photometrically they're basically equivalent to 575w HMI fresnels (without the bulb changes or worrying about ballasts) but MUCH cheaper (half the price of an Arri D5), and with the added benefits of full dimmability (without colour-shift) and no real issues with flicker for high framerate work. All of which should make them a really useful light IMO. I'd love to hear some feedback from anyone who's used them (particularly the daylight versions, and particularly how the colour rendering is on skin). Cheers, Mark

Lighting Workshop in LA: Are you working on a new project and want to hone your lighting or camera skills with a DSLR camera? Come to our next LA workshop with ASC Award Winning cinematographer Andrew Russo to sharpen your skills: https://creatorup.com/cinematography-workshop

Hello! I've just started putting together a youtube channel with little behind the scenes videos, tutorials and advice for the aspiring, young, or otherwise "new" cinematographer. I've had many colleagues and students express frustration at the daunting task of "learning how to light". While complex in many regards, it also merely requires you to begin by putting one foot in front of the other... Take a look and let me know if you find this video helpful! Laura Beth Love, Cinematographer www.lblove.com

Does anyone know what the light fixture in this image is? They were used by Roman Vasyanov on the set of Charlie Countryman. Thanks!

Im shooting a short film this weekend and the director wants a shot of a man shovelling dirt off the "lens" to reveal the himself standing over a hole in the ground in the forest. a Very classic Breaking Bad shot. Would love any advice as to how I should accomplish this... I've rented a Wide angle low angle Prism for the shot and I'm planning on buying a big sheet of plexi glass to put over the camera and cover with dirt. Any ideas (besides digging a massive hole in the ground) Thanks, Cole

Looking for an iPhone/iPad mobile app that can give me relatively accurate spot color temperature metering. Any good ones out there? Which ones do you use?

I've got to light a location where a couple of the walls are pastel green - yuck. Effectively you get a green fill light on everything where the direct light is tungsten. Of course if you adjust the white balance to take out the green fill you end up with a horrible magenta look on the direct light and on the cream coloured walls. Any suggestions? Thanks

I'm a documentary director who is trying to improve my cinematography. I have taken on a few narrative projects that I will be shooting to start to make that move more into story driven content. I am kinda green to lighting . Much of my work has been natural light. One of the scenes I'm shooting is a basement dice game. My issues of concern are the low ceilings " 9 feet" and the limited supply of equipment. I don't have much of a budget . I want the mood to be very underground and illegal. So I dont mind characters to have little of the racoon eyes from overhead lighting. But I do want them to fade into a dark almost black background. A friend mentioned I should use a 4ft 2 bank kino and tape it to ceiling for that scene. Does anyone have any other suggestions as to the best way to light this?The layout is below.

I am looking for some lights, but at a budget at the moment. I came across these through cheesycam and was wondering if anyone has ever used them http://www.fvlighting.com/store/lighting/led/r300.html

Hello! I am new to this forum and this is my first post. I'm graduating in 3 months and I am looking for a direction to build my career in. I know I want to pursue a career in feature film cinematography. I've shot quite a few things while in film school and have built up a reel with photography portfolio as well. But I know I still have much to learn. Website: Montgomeryimages.com My questions is this: If you want to build a career in cinematography and do this for a living which is better to do? 1. Go to the nearest budding film city and work from the bottom in the Grip/Electrical department. (I am hesitant to do this because I am afraid that all the camera skills I learned will disappear.) 2. Go to the nearest budding film city and work from the bottom in the camera department. (I am hesitant to do this because I am afraid that all the Lighting/gripping skills I learned will disappear.) 3. Go to a smaller city (I.e. a city with not as big a film incentive) invest in your own lighting/camera gear and start taking low budget gigs with the intent on making a name for yourself in that city. "Bigger fish/Smaller pond" (I am hesitant to do this because I am still learning and I feel like I should be learning from others. Don't I need to "pay my dues" as they say?) I am really passionate about cinematography and this industry. When I am on set as , I get in this "flow" where time will just pass and I can be there for hours without breaks. Thank you for any advice that you can offer. Justin Montgomery Montgomeryimages.com

New 9" LED Fresnels Combine High Powered Illumination Output with Energy Efficiencies and Cost Savings Litepanels NAB Booth #C6025 CHATSWORTH, Calif. - Litepanels(r), a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, will debut the Sola 9 (daylight balanced) and Inca 9 (tungsten balanced) LED Fresnels at NAB 2014. Following last year's breakthrough launch of the Sola 12 and Inca 12, the new 9" fixtures fill a market demand for medium-sized LED Fresnels. Litepanels' industry leading collection of LED Fresnels now covers the complete range needed to deliver a full LED solution for broadcast studios, episodic television, and feature film production. Ideal for studio and remote applications, the Sola 9 and Inca 9 are stronger and brighter than a traditional 1K Fresnel while offering a host of cost effective features. These energy efficient fixtures draw a mere 189 watts of electricity, and generate only a small amount of heat through Litepanels' patented Cool to the Touch LED technology that allow for greatly reduced HVAC costs. They also offer years of color accurate service without the need for traditional lamp replacements. Additionally, an integrated DMX module offers unprecedented control by allowing both remote dimming and focusing. This eliminates the need for expensive dimmers and a dedicated, climate controlled dimmer room, and makes the use of ladders to adjust focus obsolete. The proprietary DMX module works with readily available and affordable RJ45 Ethernet connections via any standard DMX512 protocol device. With these energy, facility and labor savings, Litepanels' LED fixtures have been proven to generate a return on investment (ROI), typically in 3 years or less. Producing high quality, visually accurate, full spectrum light, the Sola 9 and Inca 9 feature Litepanels' smooth dimming, from 100 percent to zero with no noticeable color shift, and are flicker-free at any frame rate or shutter angle. The custom 9" Fresnel lens, with a beam angle from 54° to 15°, emits an even, collimated light source that can be focused and controlled for maximum flexibility. While the high CRI (Color Rendering Index) LEDs in the versatile Sola 9 and Inca 9 are optimized for lighting talent, they offer a host of applications. The high output allows the Sola 9 to balance natural light in full daylight exterior or interior situations, and it can serve as an artificial sunlight source through a window or other opening on a stage or location setting. The color temperature of the tungsten balanced LED in the Inca 9 is designed to match existing incandescent Fresnel fixtures, so that it can be easily installed for side-by-side use. With no external ballast and only a short restrike period required, the Sola 9 and Inca 9 are as perfect for the rapid pace of episodic television and motion picture productions as they are for the broadcast studio. "With the introduction of the Sola 9 and Inca 9, Litepanels now offers a complete LED solution for broadcast and production applications," commented Chris Marchitelli, Vice President of global marketing for Litepanels. "This has been our goal for customers since we first set out to reimagine the traditional Fresnel fixture. We understood the inherent differences between tungsten bulbs and LED emitters, and knew that it demanded a fresh perspective on fixture design. Litepanels' revolutionary LED Fresnel fixtures were designed from the ground up, and we took great care to ensure that familiar form factor and function were not lost in the process. Now our complete collection can be used to complement existing lighting plots or to create a whole new system, offering color consistency, energy conservation, and cost efficiencies across the board." The user-friendly Sola 9 and Inca 9 both include 8-way barndoors, a Standard Yoke with Junior Pin to enable easy mounting and positioning, and an AC power supply. Optional accessories include the 5-piece CTO or CTB Gel Set with Gel Bag and the RJ45 to 5-pin XLR Conversion Cable. For more information, visit Litepanels on the Web, or follow us on Facebook. # About Litepanels Litepanels, a Vitec Group brand, was founded in 2001 by five professional gaffers and engineers who saw the future and pioneered LED (light emitting diode) lighting for motion pictures, television, and the audio-visual industry. Their Emmy® award-winning technology has now been used on thousands of productions worldwide and is trusted by the world's leading broadcast organizations. Litepanels continues to expand its suite of flicker-free, color accurate, fully-dimmable soft lights that talent and lighting directors admire. These environmentally friendly fixtures can pay for themselves with power savings and long life, setting a new standard in professional lighting. More information can be found at www.Litepanels.com About the Vitec Group Capture the moment For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com. Media Contacts: ignite strategic communications 818.980.3473 Chris Purse: Chris@ignite.bz Sally Christgau: sally@ignite.bz

Hilio D12 and T12 Redefine the Power of LED Illumination Litepanels NAB Booth #C6025 (CHATSWORTH, Calif.) Litepanels®, a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, will premiere its new Hilio D12 (daylight balanced) and Hilio T12 (tungsten balanced) high light output panels at NAB 2014. The innovative panels provide the light quality, versatility and intensity of an open source fixture, while offering all of the benefits of Litepanels' proprietary LED fixture design. The Hilio D12/T12 fixtures were designed by Litepanels to augment the lighting requirements of broadcast studios, as well as motion picture, episodic television, and commercial location shoots. The versatile panels emit a raw, narrow beam that provides high intensity for long throws. This intensity can also be harnessed and shaped with an array of available accessories to light an exterior, wash a set with soft light, or illuminate a cyc wall or green screen. Eliminating the need for external dimmers, the fixtures feature Litepanels' smooth dimming, from 100 percent to zero with no noticeable color shift, and are flicker-free at any frame rate or shutter angle. The panels also offer an integrated DMX module, with readily available and affordable RJ45 Ethernet connections for remote dimming control via any standard DMX512 protocol device. With no need for a heavy ballast or cabling, the incredibly energy efficient Hilio D12/T12 fixtures draw only 350 watts of electricity, comparable to a 2K Tungsten Par in terms of output. The consistently color accurate, long life LEDs provide years of service without the need for traditional lamp replacement, and they emit no UV or infrared wavelengths. Each panel contains a microprocessor operated, active cooling system, which increases manageability and lowers temperature control costs. The Hilio D12/T12 fixtures feature a removable, external power supply with convenient mounting bracket and optional accessories that include a stand mounted plate and an extension power cable. The Hilio D12/T12 panels come complete with integrated slots to hold color and diffusion gel filters and Litepanels' new NanopticTM lenses. The Nanoptic lenses spread and shape the light in circular, horizontal or vertical patterns and essentially convert the powerful open source into a soft light or broad directional fill. The rear of the unit features an LCD display and a multi-functional control with a menu-based button interface. An SD card slot is also built-in to easily facilitate future software upgrades. The user-friendly fixtures include a Standard Yoke with Junior Pin to enable easy mounting and positioning. "Our new Hilio 12 series is a great compliment to our Sola and Inca LED Fresnel lines," commented Chris Marchitelli, Vice President of global marketing for Litepanels. "The Hilio D12 and T12 provide a big, broad wash of light, and they are an ideal lighting source for interiors and protected exteriors. In combination with our new Nanoptic lenses, these fixtures are a real breakthrough in lumen output and flexibility. This pair of panels sets a new standard and continues to move our LED solution forward for our customers." The complete optional accessories set for the Hilio D12/T12 includes the 5-piece CTB or CTO Gel Set with Gel Bag, the 4-piece Nanoptic lens set, an eight foot power supply extension cable, and a power supply stand/mounting bracket. For more information, visit Litepanels on the Web, or follow us on Facebook. # About Litepanels Litepanels, a Vitec Group brand, was founded in 2001 by five professional gaffers and engineers who saw the future and pioneered LED (light emitting diode) lighting for motion pictures, television, and the audio-visual industry. Their Emmy® award-winning technology has now been used on thousands of productions worldwide and is trusted by the world's leading broadcast organizations. Litepanels continues to expand its suite of flicker-free, color accurate, fully-dimmable soft lights that talent and lighting directors admire. These environmentally friendly fixtures can pay for themselves with power savings and long life, setting a new standard in professional lighting. More information can be found at www.Litepanels.com About the Vitec Group Capture the moment For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com. # # # Media Contacts: ignite strategic communications 818.980.3473 Chris Purse: Chris@ignite.bz Sally Christgau: sally@ignite.bz

Hello! I'm planning for a student short and have just discovered the church we are shooting at has no mains sockets. The plan is to hire a 2.7kwa generator & run the (potentially 4x350w & 1x600w for a total of 2000w) lights this way. Is there proper procedure for grounding the generator/how should I go about this? Will using a 4-way extension cable for the lights be feasible or does this create any sort of danger? The company we plan to hire from has recommended that the generator be 20m or so from the building to keep noise to a minimum. Does this sound about right? Also, the estimated run time on the generator is 3hours, it runs on unleaded petrol. Is it possible to simply fill a petrol can up and have that ready to resupply or does the generator run the risk of overheating etc? I appreciate that some of these questions may sound like common sense, but having never used a generator before I'd appreciate any advice you can give! Thanks a ton, Scott

Hi Guys, This is a bit of a long one I warn you, but I'd really appreciate any advice or suggestions people might have. I've reached a point in my career where I want to focus more purely on lighting and camera, and move away from the various ancillary creative freelancing jobs that have (till now) supplemented my film work. I'm pretty good at what I do now (and perhaps more importantly - I'm good enough) so I want to put together a small lighting and grip package that will allow me to gaffer on projects when I'm not shooting others (and basically just spend more time on sets). Now I am limited by the amount of space I have in the back of my ute (that's a "pickup truck" to my international friends!), but the following package is something I can get away with once I install some custom shelving. In terms of the lighting package my primary goals are speed, precision and control. Any time I can save setting up additional flags/cutters, means more time spent on takes (where it belongs), it's also more efficient - and I like that. Which is why I'm thinking I'd prefer these particular fixtures. The Dedo units offer more control than anything shy of a Leko, so it's easier to get the effects you want with them (having larger 650w units, and a daylight balanced 1.2k HMI version simply extends the scale of what I can do with them - relative to the standard 150w Dedos). I just picked up my first Area 48 Remote Phosphor softlight yesterday after comparing it directly to a Kino Flo Diva 400 (the standard softlight that I'm most confident and familiar with using) and it beats both the light output and colour accuracy of the fluoro unit by a considerable margin (by eye, I'd guess it's got about 1/2-stop more output), and the Area 48 offers the added benefits of being battery operable, lightning fast to switch from daylight to tungsten, and has no colour shift as you dim the unit (so your not having to add +green gels like you often do when you dim a Diva with tungsten tubes - so there's time saved there as well). Now obviously this kit is a fair bit different from the standard small lighting package you get these days - which seem to generally consist of a couple of HMIs, Blondies, Redheads, Tungsten Fresnels, Kino Softlights & a couple of 150w Dedolights. So what I'm most interested to hear, is whether people would actually want to bring in a gaffer with a package like this? I feel pretty confident that I could light everything that I'm used to lighting with a conventional small package, faster and more precisely with this package - but that's irrelevant obviously, if no one wants to hire me with a package they're not familiar with. So what do think guys, is this a solid package? Would you want to work with it? And if not, what would you want to be different and why? This is going to be a substantial investment for me obviously, so any thoughts or suggestions would be much appreciated! Cheers, Mark (items in bold are the things I don't own yet) Lights: 1x 1.2k HMI PAR 1x 1.2k HMI Dedolight 2x 150w HMI Fresnels (capable of 5600k and 3200k, 650w tungsten equivalents) 2x 650w Halogen Dedolights + dimmers 2x 150w Halogen Dedolights 2x Area 48 Remote Phosphor Softlights (capable of 5600k and 3200k - they're Kino Diva 400 alternatives) 3x Z96 Small LED Panels Grip: 5x 40" C-stands + Grip Heads + Grip Arms 6x standard light stands of various sizes 2x 4'x4' Floppies + assorted blacks 2x Gel/Diffusion Kits 4x Umbrellas (white, gold, silver) 1x 2'x3' Digital Juice Flag Kit (nets, silks, black block etc) 1x 6'x6' Overhead Butterfly (with silk, and ultrabounce) 3x 4'x4' Diffusion Frames (216, 250, 251) 3x Scissor Clamps (for ceiling frames) 2x 2'x3' 4-in-1 Reflector Frames 3x Cardellini Clamps 6x Super Clamps 2x Magic Arms 10x Shotbags Power: 1x 3.5kw Portable Generator

Hello everyone, We are planning to shoot a short film which is based a thriller cum horror subject. We are shooting in 5D Mark III, during night. I don't have any idea of lighting the exteriors during night. So, it would be very helpful if anyone from here says what kinda lights and filters i can use for my shoot. Pls do help me out in this. :) Regards, Dhana sekar.

Hey all- Sometimes whilst reading AC I'll find that gaffers on bigger sets put together sweet wireless iPhone-controlled DMX systems. Have any of you done this yourselves, on smaller budgets or for smaller sets? I think it would be really cool to have at my disposal. Here's a post I just put together on my website about it: http://robertboscacci.com/2014/02/11/dmx/ Let me know if I'm just wasting my time/money. -Rob

I'm a student cinematographer in Cape Town and I am doing a paper lighting with the following question: How can I light a evening dinner scene with 10 people around the table at night. Shooting at day time with two windows letting sunlight in. I have an idea it has got something to do with mixing colour temperatures... Do note we are not permitted to black out the windows.

Complete LED Fresnel Lighting Kit and Upgraded 1x1 LS Traveler Kits Now Available (CHATSWORTH, Calif.) Litepanels®, a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, has announced the release of its new Sola 4 Traveler KitTM. Designed specifically to accommodate the needs of shooters and productions on the go, the Sola 4 Traveler Kit includes three Sola 4 LED Fresnel fixtures in a rugged, ergonomically designed, trolley-style hard case. Customized for safe and easy transport from location to location, the Sola 4 Traveler Kit weighs only 65 pounds (29.5 kilograms). The three fixtures included in the kit can be easily deployed for a traditional 3-light set-up, and the kit's custom foam insert is expandable to allow for the addition of a classic Litepanels 1x1. Litepanels' Sola 4TM is the smallest DMX controllable LED Fresnel on the market. The daylight-balanced LED offers the controllability and light-shaping properties inherent in a Fresnel light at a fraction of the power draw of conventional fixtures. Offering an output comparable to a 125W HMI, the Sola 4 fixtures can be powered with AC power cables or from professional camera batteries with an optional battery plate and cable. Sola 4 Traveler Kit includes: Three Sola 4 LED Fresnels (Beam Angle: 72° to 13°) Three 4-way Barndoors Three Compact Light Stands Three AC Power Cords One Trolley-Style Hard Case "Our Traveler Kits have been very popular with our customers, and we're pleased to be adding the Sola 4 Traveler Kit to our offerings," said Chris Marchitelli, Vice President of global marketing for Litepanels. "At Litepanels, we're keenly focused on developing product that meets the real needs of our users. The Sola 4 delivers the performance of a compact Fresnel fixture with all of the advantages of LED. With features like daylight color balance, lightweight design and optional battery power, we believe that this kit will help to accelerate the industry's migration to the use of LED fixtures in the field." Optional accessories for the Sola 4 Traveler Kit include the Sola 4 5-piece CTO Gel Set with Gel Bag; the PowerTap 36 XLR, Anton/Bauer's 4 pin XLR to 2 pin S-Tap adapter cable; the PowerTap Extension, Anton/Bauer's 7 foot D-Tap extension cable; and the QRC-LG, Anton/Bauer's battery stand Gold Mount ®. Litepanels has also released an upgrade of their popular 1x1 Traveler Kits to now feature the company's more cost-effective LS models. The collection of three kits features the company's signature 1x1 panels in convenient trolley-style hard cases. The 1x1 LS Traveler Duo Kit provides a pair of daylight color balanced 1x1 LS LED fixtures; one Mono Daylight Flood, with a beam angle of 50°, and one Mono Daylight Spot, with a beam angle 30°. The 1x1 LS Traveler Trio Kit offers two Mono Daylight Floods and one Mono Daylight Spot. The third kit in the collection, the 1x1 LS Traveler Trio Plus Kit, features two Bi-Colors, with a 50° beam angle and color adjustment between daylight and tungsten color balance, and one Mono Daylight Flood. "Our new, more affordably priced 1x1 LS Traveler Kits are the perfect solution for news crews and professional videographers," added Marchitelli. "They feature Litepanels' 100 percent to zero dimming, with no noticeable color shift or flicker at any frame rate of shutter angle, and they can be battery powered for field use. Our LS fixtures were designed and priced to meet the needs of field productions, and our LS Kits now make them even easier for our customers to use." For more information, visit Litepanels on the Web, or follow us on Facebook. About Litepanels Litepanels, a Vitec Group brand, was founded in 2001 by five professional gaffers and engineers who saw the future and pioneered LED (light emitting diode) lighting for motion pictures, television, and the audio-visual industry. Their Emmy® award-winning technology has now been used on thousands of productions worldwide and is trusted by the world's leading broadcast organizations. Litepanels continues to expand its suite of flicker-free, color accurate, fully-dimmable soft lights that talent and lighting directors admire. These environmentally friendly fixtures can pay for themselves with power savings and long life, setting a new standard in professional lighting. More information can be found at www.Litepanels.com About the Vitec Group Capture the moment For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com.

Hi, I'm trying to make a compilation of films with low key lighting in them for reference and inspiration. It would be great if some of you could help me by giving me some film titles. Merci! Thomas

Hi folks! I don't know If I'm in the right forum for this, but I need some help to find a specific sort of lighting filter. I'm looking for a filter that diffuses the light but doesn't add that white color, more like a "clear translucent" / "non-white" frost / diffusion film. Rosco has got a lot of different filters, for example: E-Colour #216: White Diffusion E-Colour #220: White Frost E-Colour #480: Full Atlantic Frost E-Colour #253: Hanover Frost E-Colour #129: Heavy Frost etc. I've made two comparison pics in ps so it would be easier to explain, notice how the second example diffuses equally as much but doesn't add the white color to it. For example (#1), this is a white frost film: ...a this example (#2) is a "non-white" frost film: I don't know if such a diffusion film exist, but if you happen to know any please let me know, I would really appreciate it! Best regards /Patrik

In a film that I will be shooting soon, one of the locations is an upstairs bedroom. The room is fairly small, and very white and we are scheduled to film at night. There is £400 in the budget for cinematography. We already have access to 2x 650w and 1x 300w Fresnel lights and Canon C300. The room has blinds and I want to make it seem like moonlight is coming through them. Could anyone help me figure out the logistics of this? Thank you!

Hi Everybody at the www.cinematography.com Forum, Thank you for everybody's wise words and great advice, I have come on a great amount since I have started following this forum. I have just finished a short film (about 35 minutes in duration) for my 3rd, and Final, year in University. I am studying 'Film & Television Production' in the UK and would love any creative/constructive criticism that people have so that I can improve/gain some skills. This is my first short film i have lit myself. Here is a trailer that our group have produced, i'm looking for advice to do with lighting rather than trailer editing (as I only had partial input on this). Obviously it goes without saying we don't have copyright for the songs used but this is okay for our module: This was shot on a 5D mk II (as is commonplace for student films). Many, many thanks for the time taken to watch the trailer and provide feedback. All the Best, Jonny Treherne P.S. I apologise that this is a re-post but I believe this is the more relevant thread.

Hello all, I have a bit of a dilemma with a scene I am shooting where the director would like the lighting to change from night to day in one shot. The shot is in a (small) kitchen on a mid of a man sleeping at a table. We have a 400w HMI, 2k blonde as well as an 800w fresnel and 2 650's. We don't see the window in this frame which does help out a little. I was thinking of simply blacking out the window and then slowly letting the light come through starting at the top and moving down so the daylight hits the top of the ceiling first and then spills down to fill the room, then re creating the night light from outside, inside with one of the smaller lights. Does this sound like the right idea for the given situation? We could alternatively shoot when it's dark outside and then fake the daylight. Any comments would be much appreciated. Thanks, Tom

Hi all, I'm shooting a feature in Cape Verde this feb-march and although I've shot in Africa before (Burkina Faso & Zim), never a feature and at this level. Just wondering if anyone has any pointers on obvious issues and possible solutions to them? The whole shoot will be in a city with (albeit limited) access to power. Apart from the obvious issues of travel, accommodation, food & drink etc. the main issue we'll face is the light - top sun, dark skin tones, literally no golden hour (I think we'll be at around 17 degrees north), dark as death during the night, restricted access to power. Due to budget and logistical issues I have to be fairly careful with what we take over so I'm planning on using a lot of practicals-turned-film lighting, i.e. china balls, work lights. Also to fill frame & create interest, christmas lights, etc. By far most scenes will be shot during daylight hours so natural light will be no.1 but there are a few scenes during night. So have any of you shot in similar situations and have any pointers? I've read things like sowing white fabric under baseball caps while bouncing sun towards face etc. Any comments are appreciated. Thanks, PJ