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Found 4 results

  1. Dear all, I once again need your advice on how to approach several night scenes that I'll be shooting in a week's time. The idea is to successfully construct a solid, uniform and believable nighttime ambience for the backgrounds (underexposed deep blue tones) and have dark silhouettes (or partially rimmed subjects) moving against them. In terms of providing a realistic, feasible reference, I guess I should mention the interior night scenes in Amour. The ideal result, however, would be something closer to the Skyfall fight scene in concept, but adjusted to the reality of the circumstances in which my story is going to take place (a family home without any big practical screens as backdrops). In terms of lighting, I was considering using daylight Kinos to construct the soft ambience, as mainly seen in the Amour stills. However, one possible issue that I might be having has to do with the camera + lens set-up. The MX sensor is notoriously underperforming in low light, and the only way to keep the shadows deep and noise-free is to shoot at ISO 320. Not only that, but being the space extremely tight we'll have to use a rectilinear 14mm lens at basically all times. Now, the only option I was given is a first generation 14mm Canon USM F2.8. I had a look at some tests, and optimal sharpness is achieved at around f8. How much light do you reckon I'll need? Are x2 Kinos for ambience + x1 575 HMI + occasional tungsten practicals going to be enough to light the interiors? Also, on a related note, are any of you guys aware of any way I could potentially battery-power fluorescent light tubes? In my head, it would make sense if a battery unit connectable to this mount existed. However, I can't seem to find anything of sorts on the internet. Let me know your thoughts, and as always, thank you very much for your time. Best, Filippo
  2. An upcoming music video is in the process of budgeting, the script requires mostly night scenes, euthanizing moonlight. The main question I have is: How on earth are scenes like this lit? perfectly even lit scenes like this. I understand you'd need a big source most likely through a 12ft diffusion frame but this is a ridiculous amount of light for this forest scene, which also confuses me because the trees are still silhouetted as if the source was directional but yet everything is so soft. I don't understand how such a large set can be lit so softly yet with so much contrast. Does anyone have any theories to how this lighting setup was achieved in a floor plan? Of course I'm not setting this as a goal for this project, nothing of that scale but I find it incredibly interesting non the less. https://gyazo.com/b78933c3fa1a298ff04e686924ab53e6 https://gyazo.com/40bf199b982ebab5764e70a53168b117 https://gyazo.com/d76dc2acd1521cf948255f4ba59b3fd5 Thanks Seth
  3. Hello guys! How are you? I'm shooting an extra scene for my upcoming short, (here are some screenshots): https://www.findspire.com/nabil.mendes/?viewer=7yo4t98o And i've chose the Super8 mm format. It's gonna be an exterior night scene with available light (Paris is pretty well enlightened by Night), and i need some advices. Which camera is the best for my situation between these three: -Canon auto zoom 814 Electronic -Canon 514 XL-S -Nikon Super zoom 8 From my understanding, the Fim stock i need is the Kodak Vision 3 500t, am i right? Will it fit these cameras? Any advice about how to expose a Super8 camera compared to Digital? (i shoot Red mostly) Thanks guys!
  4. Hey guys, I am a film student, at my senior year and about to embark on my final film project for school. My short film project is a thriller where the protagonist has to uncover clues and find out where his mistress has disappeared to. So in short, this scene is where we have our protagonist drive down a dirt track in the middle of a forest and continues on foot to the various clues. In depth, our protagonist is led to this location (forest) as the place where he'd find his mistress who has gone missing for the past few weeks. He drives down the dirt tracks, and stops when he sees a violet ribbon (recurring theme throughout the film) tied to a tire swing by a tree ahead of him. He got off on foot and whipped out his flashlight and walked towards the violet ribbon, he then sees another violet ribbon tied to a tree about 10 feet to his right and he walks towards it. He looks around for signs of his mistress, walking around the area by the tree until CREAK, he stepped on something wooden that is buried underneath the ground, he immediately dug frantically, fearing that his mistress could be underneath. He dug and dug until he uncovered a large wooden box, he opened it and his mistress lies dead inside. He freaks out. The thing is, I can use the car headlights as backlight for a portion of the scene, but then we have the protagonist turn right and walk away from the headlights. There isn't any other light source around him whatsoever, except for the flashlight he has with him. This flashlight isn't omnidirectional though as it is coming from his mobile phone. My director wants the scene to be lit not too bright, but enough to see the facial features of the protagonist. So how do I light my subject if there are no natural light sources around to use as an excuse to place my lights (china lantern, arri fresnels)? I need advise, this is my first time lighting a night scene and I need all the help I can get, in terms of what kinds of light to use and how to light the area. Thanks Internet!
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