Jump to content

Search the Community

Showing results for tags 'lighting'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


  • Cinematography Forums
    • General Discussion
    • Cine Marketplace
    • Cameras Systems and Formats
    • Lighting for Film & Video
    • Camera Operating & Gear
    • Camera Assistant / DIT & Gear
    • Grip & Rigging
    • Visual Effects Cinematography
    • Post Production
    • Students, New Filmmakers, Film Schools and Programs
    • Lenses & Lens Accessories
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • Directors and Directing
    • In Production / Behind the Scenes
    • On Screen / Reviews & Observations
    • Business Practices & Producing
    • Camera & Lighting Equipment Resources
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Cinematography News
    • Sound
    • Off Topic
    • Accessories (Deprecated SubForum)
    • Regional Cinematography Groups

Find results in...

Find results that contain...

Date Created

  • Start


Last Updated

  • Start


Filter by number of...


  • Start





My Gear


  1. Hi, i am currently coming to the end of my film degree and for my final piece of work i'm writing a research project about film noir's visual style and how different lighting techniques were used and whether the cinematography is ultimately a character. I'm looking to speak to directors/cinematographers/photographers/Gaffers who have used visual techniques from film noir and use replies within my project. (sorry to have to do this on here, i've tried contacting cinematographers directly but i'm just being ignored) My questions: why did you decided to get involved with the project that uses film noir cinematic styles? Why did you use techniques from classic noir? Which lighting set-ups have you used? What were the themes within the scene(s) that you used these techniques? Did you attempt any other lighting set-ups before deciding to use the specific set up for the shoot you were involved in? Would you consider the cinematography of the project you have worked on to be a character? For indoor scenes what type of lights/and how many were used to create the visual 'look'? If you can't answer all the questions thats not a problem, just answers the ones relevant to your project. Also if you could give me details about the project you worked on, or give me a link to the final piece, and your name so i can credit it correctly that would super helpful. If you want to contact me directly, and have the capability on this website (newbie to the forum), please do. I'm running out time on this project and i will greatly appreciate any responses to the questions. Thank you so much for helping out with this, i look forward to hearing from people. Rob
  2. Hello, I've been noticing lately in movies, hardly anything is natural color, its either cool, warm ora combonation of the two. I've tried just about everything (from lighting to multiple grading techniques) and can't seem to nail the look and feel of the shots I see. I've included 2 examples of what I'm talking about. The first is a very cool grade from the catching fire trailer (awesome). Somehow the highlights and shadows remain neutral, and it almost looks as if the midtones are a little bit neutral, but somehow it still seems blue. the 2nd picture is a scene from inception with a very orange feel. My question is how are these achieved, is it through grading, lighting, white balance, or a combination of them? Thanks for any advice!
  3. Would love some feedback. www.spencerhutchins.com
  4. Hey guys, I'm currently working on a short film set in a dystopian future. I'm 17 and have been trying to pursue a career in Cinematography as a DP. I won't go into details about the film or shots, but here are still from the short: https://fbcdn-sphotos-b-a.akamaihd.net/hphotos-ak-prn1/47033_611207905561453_2090488972_n.jpg https://fbcdn-sphotos-f-a.akamaihd.net/hphotos-ak-ash3/65921_612503248765252_1689622927_n.jpg https://fbcdn-sphotos-e-a.akamaihd.net/hphotos-ak-frc1/538346_612941088721468_285493808_n.jpg https://fbcdn-sphotos-d-a.akamaihd.net/hphotos-ak-snc7/377657_612941085388135_447684762_n.jpg https://fbcdn-sphotos-b-a.akamaihd.net/hphotos-ak-ash3/525153_612503225431921_417038134_n.jpg https://fbcdn-sphotos-c-a.akamaihd.net/hphotos-ak-snc6/188393_612503292098581_519469670_n.jpg Tell me what you guys think of the shots, appreciate the feedback :) (Canon Rebel T2i, Canon 24mm f/1.4L, Canon 14mm f/2.8L, Canon 50mm f/1.8)
  5. Hi everyone, Very soon I'll be shooting a western short in the desert, mostly with HMI's, ultra bounce, and unbleached mus. My question to everyone is, will the warm color of the sand lower the overall color temperature of my daylight. I know we conventionally rate "daylight" between 5200k & 5600k. Right now I'm a thinking that the HMI's will appear too cool for day exteriors. Maybe the smartest thing to do is work with 4x4 mirrors and simplify things? Also, I'm contemplating using kerosene lamps and small tungsten units on flicker boxes for interiors. If anyone has experience shooting in the desert, specifically westerns, I would love to hear how they created their looks.
  6. Hi All, I'm a newbie when it comes to cinematography. I just bought an app called Light Source and was hoping someone could explain "Min Throw Distance" and "Min Beam Spread"
  7. Hi everyone, I'm a new DP based in Edinburgh, Scotland. I'm looking to come to L.A to do a course or workshop in Cinematography to further my skills and career, and for the experience of it. Can anyone recommend a good course, workshop or classes to do? Many thanks, Steven You can view my reel at www.stevenabercrombycook.com
  8. Hi everyone! I just moved to New York, and I'm working as a cinematographer at the moment (mainly assisting, but I had a few projects where I did the cinematography on my own). I wish to learn more about lighting with low budget. Because of the financial crisis, a lot of the projects lately have a very small budget, and I want to be able to learn better how to work with this. Can anyone recommend me a good workshop (or something like that) where I can learn this? Share your experiences with me! :D Thanks a lot!
  9. Hey Im doing lighting test , for a project on infrared film, 35mm, indoor shooting. we're trying a verity of light sources in order to get the right and effective light for this kind of project. I know that mostly infrared used on outdoor shooting, under the open sky, but here, we also want to shoot some indoor night scenes on this reel. just some few facts about this material: the light spectrum we are trying to get is between 720-820 nm (nanometer), which also being called "invisible light", since this wave spectrum aint visible to the seeing eye. thats why we use gel filters on all of our main light sources. till now we used 5K's, Par 64's, 1K's, some lightpad panels, but(!), what im trying to find, is a light source which will speak the same language of the ifrared wave spectrum, and not just some regular cinema classic lights. 1. does anyone here knows, heard, or experienced this kind of situation? 2. can i work with infrared light with diffusions? like we regulary do on set? 3. what is the effect of bounce through white poly board with infrared light? can we bounce regulary like we used too? thnx ^_^
  10. Hey guys, I require a lighting similar to the type in this pic.. Here the light seems to be of from sunlight buts actually it's a night scene which was lit artificially..Actually i need a lighting which seems to be like from a bright sun light.. Help me how i can do!! It's a short film with very low budget, we are using canon 550d.. Also let me know the specifications of coloured gels if at all can help us with these kind of shot.... Kindly help me with the knowledge on voltages too (any books/blogs/videos)!!!! Thankyou :)
  11. Hi everybody! I am a film student and aspiring DP whose especially interested in lighting. I'm still learning the basics and one step along the way is to get familiar with the types of lights: their specific qualities and differences, best situations for each, common brands, etc. So far I have noticed these categories: Par, Fresnel, Open Faced and Redhead. What are the unique qualities and common uses for each category of light? Are there any other types than these? Any feedback would be greatly appreciated! Thanks, Babette
  12. Have you used a seamless backdrop as a bounce? I am thinking about using a 5x7 seamless backdrop as a bounce instead of a 4x4 diffusion frame since the seamless is bigger and should yield a softer light than a 4x4. Have any of you tried using a seamless backdrop as a bounce? I'm not sure how reflective a seamless backdrop can be. Just throwing this out there before testing it out on a job. Any input will be greatly appreciated!
  13. Hello, I'm selling this 4 light (2 tweenie, 2 betweenie) Mole Richardson lighting kit in like new condition. There is a little bit of wear on the outside of the case and some heat discoloration on some scrims. There are a couple of extra lamps (bulbs) too. Mole calls it their #5826 kit. Mole-Richardson Tweenie II Tungsten 4 Light Combo Kit - consists of: 2 Tweenie II 650W Fresnels, 2 Betweenie 300W Fresnels, Barndoors, Scrims, 4 Lightwate Kit Stands and Moleded (Yep, their spelling) Case - - 1900 Total Watts (120-240VAC) It is the same one as this bhphoto link: http://www.bhphotovi...eenie_II_4.html and here: http://www.filmandvi...ltweeniibe.html $2500. I am near Portland, OR and will ship it to you if needed. Also, I have more pictures (and of a higher resolution) I can email you. Thanks! ~Chad
  14. hello everyone, I'm a final year cinematography student of ftit, chennai, tamilnadu. Within a month, I'm going to do my diploma film, the academic exercise.My director wants a blue tone overall the movie. so somebody give me suggestions to achieve it since i'm a budding cinematographer. Herewith I'm attaching all the equipments i would be provided : Arriflex III, 500T (2 nos), 200T (4 nos), lenses- 24mm-290mm zoom, 24mm, 35mm, 50mm, 85mm, light- 1kw, 2kw, 5kw. I know many methods would be available like using filters and all, but i would like to know the effective method that would be apt for the mentioned requirements. By the way, the diploma genre is a thriller. Regards Kirubanidhi
  15. Join me in a workshop I am teaching on Feb. 16th titled "Lighten Up: Doing More with Less without Compromise." The subject is how to get the most out of todays lighting instruments. The poor Power Factor of HMIs, Kinos, & LEDs have been vexing set electricians for years. For more information about the adverse effects these loads can have on generators and power distribution systems, and how to remedy them so that you can operate bigger, or more small, lights on portable generators or house power than has ever been possible before take this workshop. As part of the same workshop series, New England Studios, Talamas Broadcast, and Production Hub will be sponsoring a workshop on “Video Lighting Design” by L.D. Richard Cadena on Feb. 9th. Noted Focal Press Author, ETCP Trainer, and Founder of the Academy of Production Technology, Richard’s workshops are both lively and informative. Log onto http://bit.ly/nptwkshps for more workshop information and registration details. Guy Holt, Gaffer, New England Studios, Lighting & Grip Rental in Massachusetts
  16. I saw this awesome video the other day by Garrett Shannon and I'm trying to figure out how he lit the interview/talking head portion. It's very clean and very soft, and I would like to figure out how to light something like that. If anybody has any idea please share it here! BTW you can watch the video online here: https://vimeo.com/51228350 Cheers, Mark
  17. Here's my latest short film which I did a lot of experiments for regarding Cinematography. http://www.youtube.com/watch?v=V5lJ9C5XWqw
  18. Hi there, at the moment I'm trying to find a light setup for a online guitar lesson video. I'm rolling on a 5D mk3 with a 24-105 f4 Lens. I'm posting here because I'll have to rent lights and wanted to know if my lighting setup would be good. Just some impressions to the scene. Filmed is just one perspective - from the front, framing around the head, guitar headstock, bottom of guitar and somewhere in the middle of the right arm. The background is deep, so no background paper or similar directly behind the talent. There are no windows, so no daylight. I drew a rough idea of the setup. Is that an acceptable setup or am I totally wrong? Are Watts sort of right? What would you suggest? Thank you very much, Pablo
  19. HI all, I'm very new to Forums and hope I'm doing this right! :) I'm hoping to get into Cinematography after my University course has finished. Just thought I'd share my most resent piece of work. http://www.youtube.com/watch?v=V5lJ9C5XWqw Regards, Aaron Rogers
  20. I'll be using a strobe (flash) on an HD shoot. I've seen this in the past but it never seems to work well (strobe duration and shutter angle/shutter speed issues). Any ideas, tips or thoughts you can share with me?
  21. I'll be using a strobe (flash) on an HD shoot. I've seen this in the past but it never seems to work well (strobe duration and shutter angle/shutter speed issues). Any ideas, tips or thoughts you can share with me?
  22. I'll be using a strobe (flash) on an HD shoot. I've seen this in the past but it never seems to work well (strobe duration and shutter angle/shutter speed issues). Any ideas, tips or thoughts you can share with me?
  23. Hi, I'm looking for some advice on how to light a night time outdoor scene that is located alongside a road. There are some street lamps, but not many. This is a low budget film so looking to keep costs down. In the scene there is a conversation between two characters while walking along a path (some street lamps). There is then a crash scene (so will be able to use one cars headlights). If anyone has any ideas or tips as to the best way to light something like this I would be very grateful. Thanks
  • Create New...