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  1. Hey there everyone! I am a colombian film student and wannabe cinematographer and I am looking for some advise for an upcoming short film me and some classmates are preparing. So I am going to be the DP for this short and in terms of lightning I am looking to have an aesthetic close to the images I attached below for the interior daylight scenes. Logic tells me that to achieve this I should have some strong key lights motivated from the windows on the characters and expose to those bright areas of the face, so everything else will be darker to achieve that high contrast ratio. We´ll probably h
  2. Feast your eyes upon two of the most highly rated, luminous glow-emitting light fixtures to have ever been constructed in the history of Hollywood. Manufactured in the heart of Burbank, built from blood, sweat and tears; The Kinoflo 4x4 fixtures have dominated the industry for over 20 years. The natural quality of light has been said to fool even the greatest DOPs into believing it is not an artificial source, but the soft glow from a window on a summer evening, just before sunset. Deakins himself has claimed the Kinoflo 4x4 fixtures are the only manmade instruments to come close to replicatin
  3. Hello everyone! As jobs get bigger, the need for a floorplan software gets bigger. What kind of software are you using? And on which platform are you working?
  4. Anybody here tried and/or played with the Mole Richardson Bi-color led fresnels? Especially the big ones like the 5k or 10k equivalent. Or even these same lights in single color... Any thoughts, pros, cons, everything you have would be greatly appreciated!
  5. Hey guys, I wanted to get your thoughts and input on what I am thinking of doing here. I have been a commercial still photographer for years, but have been shooting on the Red a lot this past year for both client and personal work. Unfortunately my DP who gives me access to his gear is moving to North Carolina, so I decided to bring these capabilities in-house. I'm building out a full cinema kit and want to be able to shoot action (I shoot a lot of athletes commercially) and shorts that I do for self promotion. I tend to like dramatic lighting and punchy contrast. So now that you have the
  6. Does anyone have metrics on the photoflex starlite or chimera triolet 1k's? I've used the triolet once, a few years ago and was wondering how the output compares to using Mole or Arri open face pars with the same modifier. Since they have much larger globes and are made specifically to use with softboxes I would think they have more punch. Also, the photoflex starlites use the same globes as the triolet so I would assume they have the same output. Photoflex has an interesting speedring that fits 4 starlites into 1 softbox, effectively making a cheap barger like setup. The lamps g
  7. I have two identical sets of the Digital Sputnik DS3 Modules w/ Snapgrid(softbox) and 1 - DS1 Module. I'm in the middle of the a personal project and finances are tight, I need to sell off some of my equipment. These are amazing lights and I sad to see them go. I have two identical set ups listed below and selling them for the same price. I might be willing to sell pieces but would prefer to sell them as a kit. These lights are in great shape and I only used them on one shoot, other then that they've been sitting in my garage collecting dust. The kit includes Digital Sputnik D
  8. Hey there, Currently looking for a solution to rigging a 2K above a large set inside of an industrial coolroom. We did this the other day in a way that I would like to avoid doing again due to its stability. Old Solution: C-Stand with cartalini gripping another C-Stand shaft at full length. Light at the end of that arm, Everything was shifted back by roughly 15 degrees and added 75kg of shot bags to the other end for counterbalance. Once raised, it was panned across and then ratchet tied to scaffold that was inside the coolroom. Rough Floorplan: https://imgur.com/a/zPrlZHq
  9. I was just wondering after searching a lot around on eBay and other secondhand websites and finding many different cheap lights, wether or not they might be fully functional and suitable for a modern production. As you know, new lights and lighting equipment are expensive, especially Arri's and other industry standards. But older used lights go down on eBay for dirt cheap. I am interested in all opinions on pros and cons with older lights and equipment as compared to new expensive ones. (Mostly considering indie productions) Thanks alot :)
  10. Hi guys, I've been given the task to shoot a music video. The director wanted to be to create a lighting set up similar to the picture below. It's very low budget, so I have 3 kino flows and one Arri 2k. I wanted to know what will be the best way to avoid spill when using the kino flow to light the subject? Thank you for reading Christopher
  11. So, I've posted this on a few forums, and if you've seen this already, I apologize. I just bought an old set of Came TV 900 LED panels for a very low price. They are very bright and the quality of light is great, but they have a magenta shift. Do I send them back or just buy some plus greens and go on my way? Does anyone else own these panels, or have this issue?
  12. Hi Guys, I am currently on a hunt for great and affordable LED tube light like the quasar science, to enhance music videos and other projects. When I search online for them, they are like £60 for a 4ft one. Does anyone know any websites, stores, rental houses that provide great & affordable LED tube lights, that work well for filming? I'm writing from the London, so I would preferbally would like things that I could buy over here, thank you! Christopher
  13. hey yall i have a small set of arri lights here. they were used for a documentary and probably have less than 200 hours of use. http://s1065.photobucket.com/user/wbrettmayfield/library/arri%20lights $1800 1 arri soft lite 1 arri 1k 1 arri 300 3 arri light stands 1-2 spare globes for each basic gel roll scrims filter trays case a few extras all of the lights work great. flash was used on a few photos, the lights are NOT hot in any photos. lights are in atlanta. buyer pays shipping. case is heavy and includes a spare caster. dont haggle on price until weve talked a bit
  14. Hi guys, I'm Francesco from Italy and I just uploaded my Reel with many works realised in 2016. They are frames taken by commercial, short movie, videoclip, video art and documentary. I'd like to have your feedback or a simple opinion on these works. Thanks a lot everybody here's the link (obviously watch in HD) ;) https://youtu.be/NP-DBJvqa00
  15. Hey, everyone! I'm wondering how to light an area. Or, more specifically, how to color-balance it. I'm going to be shooting digital, but I'd also like the answers for (tungsten) film just to know in the future. I'm going to be filming in a particular bar (if all goes well—pray for me, please) which I've built the whole thing around. It has lamp lights and ceiling lights which appear to my eye to be incandescent, or else LEDs which look incandescent (I didn't check in the lamps). There are LED (?) panels which I'm told change color (I plan to work that in). And then there's the light from
  16. Hey, I noticed some interesting personalities coming from Benoît Debie cinematography practices. I was watching a movie directed by Wim Wenders called Every thing will be Fine. As an added side-note I want to mention the writer,Bjørn Olaf Johannessen, because its connected to the bigger image I noticed personally. The things Im interested in is 1: Benoît's light choice for an early morning scene in this movie? & his all around esthetic - lighting & framing specifically. And the other question was 2: The combination of influences on this projects development? First, the lig
  17. https://www.youtube.com/watch?v=KbGMOc8VP4E This is the first video I shot with some proper lights I bought recently. This is a vast improvement in a lot of my other stuff, so I just wanted to post it. I have a lot to learn but this is a good step for me. Enjoy.
  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 fil
  19. I have 3 fresnels in perfect condition, you would be mistaken for thinking that they are brand new. ARRI 150w, 300w & 650w fresnels. They come in a Kata case with a wheeled trolley. no stands included. The case has some cosmetic wear, trolley has been wheeled down the street no more than once. I'm looking for a buyer based in London. I can sell individual part if there is interest. If you are interested in purchasing please send me a message and I'll send across some pictures.
  20. Hey guys I have a pile of gear for sale. The reason for sale is that I barely use the gear. Here's a list of some available items. Bartech wireless FF/ with Heden Motor and extra gear drives Kit. $1800 - SOLD K5600 Jokerbug 400 HMI $1200 K5600 Jokerbug 200 HMI $1000 Steadicam pilot - $1000 Kinotehnik LCDVF $500 Cinestar 8 $2000 U7 motors X8 $75-each Carl Ziess Cinemiser OLED $350 Wireless transmitters And much more..... See link for some pictures. https://www.dropbox.com/sh/h5no4caa36clp6l/AAB7VX7DfiQlx7nhY9sAxotma?dl=0 Make your offers reasonable. all my gear is in decent s
  21. Gear Helps Camera Department's Smooth Production NEW YORK (April 29, 2015) - Cinematographers Eric Moynier and Michael Caracciolo shoot NBC's hit series, The Blacklist, with support from Anton/Bauer batteries, Litepanels fixtures, and OConnor fluid heads. Mostly shot on location - including Manhattan, the outer boroughs, Long Island, New York's Rockland and Westchester counties and the stages of Chelsea Piers - the show's dramatic storytelling is a perfect match for the tools. The Blacklist stars James Spader as ex-government agent Raymond "Red" Reddington, one of the FBI's Most Wante
  22. Next Generation ASTRA 1x1 Series Also Expands with New Models CHATSWORTH, Calif., (April 9, 2015 )--Litepanels® , a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, has announced the launch of several new additions to their highly acclaimed ASTRA line of LED panels. The expanded lineup now includes the ASTRA 1x1 EP series, the ASTRA 1x1 E series, and two additional models in the ASTRA 1x1 series, which debuted last year. Building on the legacy of the company's original, trailblazing 1x1 fixture, the ASTRAs set a new standard for the form
  23. Lightweight Kit Featuring New LED Fresnels Delivers for Mobile Users CHATSWORTH, Calif. (April 8, 2015) - Litepanels®, a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, has announced the debut of its new Caliber 3-Light KitTM. Ideal for webcasting, blogging and professional content creation the Caliber 3-Light Kit is designed specifically to provide the portable, out-of-the-box lighting solution that today's professional videographers require. The latest addition to Litepanels' award-winning line of LED Fresnels, the Caliber is a true
  24. Hello, Here i would like to clear some questions raised before starting a new project.. as i shared my equipment i have and the question how to use them for better result.. I am now doing a job for the first time on DSLR and have so many questions and need all the help you all can provide. The gear available to me: 5d3, 1dx Zeiss 14, Zeiss 35, Zeiss 135 (on its way) Fluid head tripod. Lexar 1000x 32gb UDMA 7 card A three year old Imac for editing. Nature of job and crew: I will be going to small villages and shoot lifestyles of people as artistically as I can. I will shoot lots of int
  25. Hi Cinematography.com, I'm a second year film student and an aspiring cameraman/D.O.P. I am currently working as a junior editor at a production house for the summer, and am wondering what I should invest my money on once I've compiled enough when school starts! At the moment, I am wondering if I should invest in two decent lenses, lights, filters, and grip stands instead of a camera body such as GH4 + lens. The reason is because I will have another year of school, which means access to cameras such as F3 (Hell even Bolex h16) till April 2015 + 6 months graduation equipment rental bl
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