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Found 9 results

  1. Hello Cinematography lovers! I hope you're all well! I recently shot a music promo using all natural and golden hour light! Filmed on location in the UK, where normally it's not like this! Hope you enjoy & thanks for watching!
  2. Hi guys! Once again thanks to those on here for their help & support. I am about to do a shoot at a theme park on a dark ride. The client wants to show 2 rides. The 1st is completely pitch black except for some areas - eg. passing through LED fire ring, LED star, etc) but add not a lot of light at all. The other ride lighting is hitting the props/character installations but no light on the coaster or people. I went for a recce and the lights hitting the character installations on the 2nd ride expose around F 2.1. So I have gathered lenses that can accommodate for this. I am in the middle of planning what lights I will need to highlight the areas in complete darkness for both rides. I am trying to decide whether I need a 5k Arri Tungsten with 2x 2k Blondes or will 3x 2k Blondes be enough without a 5k. My idea is to not make them look lit in the most case going around the ride but more to just bring up the ambient light on the actors. I can take a 5k and bounce off Polly for the ambient, filling in other areas if need be with 2k blondes or just do this plan with only 2k blondes. If I choose to use a 5k I will have to do a long cable run from the control panel, however, I can power 2k's from inside the location. I also am debating whether to rig small lights to the rollercoaster next to our rigged camera for our reverse POV, so I have a consistent exposure on the actors while they go through the ride. Or if I should lock the ride off and try to recreate this with lights, a fan, and a dark background. Any thoughts on this also would be appreciated. I am attaching some pictures below. Please let me know your thoughts:
  3. Mornin' everyone. That's my first post here at the site, so I'll try to be pretty clear (sorry bout the english, from Brazil in here). The thing is, we'll be shooting a college thesis film (a thriller themed short-film) this next semester. One of the locations is the living room/ kitchen of a country house. I'll get two setup's at it, the first one will be basically natural light with a bit of reflected backlight (we'll shoot with a steadi going round, so I'm trying to avoid any possible physical interference). My doubt would be what set or what kind of equipment I use for the second moment. The character will be entering an eerie aura, he's returning to the house after some weird stuff happens at the outside. What I want to do is a set that get the interior much darker than the first time, but not too much, so it can be clear that he's at daytime. Wanna use a strong marking contrast, but not to defined lines, I'll post a reference image so you guys can understand my point. Just for the knowing, the camera will be a Sony F-55, shooting at 2k, and we got plenty of lighting equipment to choose, so basically there is no strong limitation to what type of light we can use. Well, guess thats it, if you guys could get me any help it would be great! Thanks!! The reference, from 007 Spectre (bad quality, but great lighting) :
  4. Hi everyone, this is my lighting set-up for a short film I did back in the day. It was an interesting 15 hours, stuck in a little crowded room. In the particular set-up that I have illustrated, 4 - 100 W lights were used enclosed in aluminium cones to give us a spotlight effect. We didn’t want to set up a large light as it would illuminate the whole room and eliminate the contrasts, however we did have a 500 W in behind one of the walls with a grill in front to emulate sunshine peeking through a window. Yes the 500 is extremely low to simulate sunlight, but we didn’t want to blow out the scene with the sun rays if we used a 2K or an HID. The scene shown in A1 was kind of tricky, because the lights where about 7 feet off the ground, and when the talent got up from the horizontal position, they where suddenly half way from the light source creating some hot spots. In order to resolve this we re-shot the scene with some diffusers. During the entire shoot there were frequent repositioning of lights except for the 500, which stayed in its spot. The lights where the clamp type 100 W. Since we were very restricted on space with no room for any sort of light stands this was very convenient. If anyone has ideas on how this could have been lit in a different manner, I would appreciate your input. This would not be the last small set for me to light and film in but at the end of the day it’s these challenges of filming in difficult areas that make our lives even more exiting. Happy filming. Izik Nox.
  5. 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
  6. Link: http://www.indiegogo.com/projects/deep-sleep-short-film/x/268202 Deep Sleep is a short film about a self-loathing teen, Derek Harper, who's sick of his severe idiopathic hypersomnia (sleep addiction). He lives in a generic apartment, and works at a late-night cafe for free coffee to keep his life somewhat moving. His one and only friend Hay Tyler, helps him find the answers to his condition. You're important because you guys are the most vital part of the film. You determine whether this film will be good or bad. Your funding determines how much creative freedom we have, and how close we can tell this story to its envisioning. You are even more important because you're the key to the film's success. Not only will you help me make a beautiful film, you will get me further to my dream. Why Is It Important To Me? 'Deep Sleep' is an important project to me not only because its the most biggest challenging project I've tackled so far, but because it can be a film that can allow me to prove my talent and potential as a filmmaker. When I went and saw 'Inception', I had no idea what it was about really, and went into the theater unexpected. As the film finished, and I walked out of the theater, a feeling came over me that inspires me everyday. I was completely blown away. I want to create that same feeling in everyone of my films. Thanks for taking the time to read this, it is deeply appreciated. Please take a second or so and spread the word around about this project. It needs it! Thanks again, Will Jacobs Actor, Director, Writer, and Producer of 'Deep Sleep'
  7. Hi all. Getting ready to shoot an apartment bedroom scene that is set at night in a dark room with string lights as the only in-room practical ("lights off" otherwise). The scene is also being shot on a bed against a window with heavy dark curtains. So we are shooting straight into a window. Director's approximate reference for general feel/contrast is :14 - :30 in this clip: search youtube for "dead boyfriend morvern collar", i don't want to post outside links here as i don't think that's encouraged ;) Our scene is set up much differently than that clip but that's the "feel" she wants. Tips? This is low-budget and we are working mostly with a handful of Arri 1Ks and 650Ws. My initial plan was to throw a couple 1Ks outside the window at an angle with some CTO/yellow to mimic street lamps. Then fill inside with a 650W gelled similarly to mimic the rooms reflections of the outside light, OR take that 650W and gel it the same color as the practical string lights to imply that they are providing most of the light in the room. Could use some help though. Thanks!
  8. Hello there, I launched a new short film over the web a few days ago. We have been chosen as official selections at a few festivals and have won Best Cinematography at the Fantasia Film Festival in Montreal, as part of the Quebec short films. I'd love to get some feedback from anyone watching the film. Any comments, suggestions, thoughts, etc. Whatever anyone wants to share, I'd be delighted to hear it. Thanks and hope you enjoy :) Here it is. KIN.
  9. Well as some of you may know I've been working on a music video for a while now that I shot on my DVX100. I got a lot of abuse for this what with the whole mini-dv thing and all. I'm actually not convinced it would have made a huge difference having a fancier camera, in fact it may have made some things worse and more difficult although there are a few times when I can see it would have made things better. There are issues with it all but they would be there regardless of the camera because they were down to issues regarding budget and most of all, time. Working around peoples jobs and trying to keep people fired up when they are exhausted at the end of the day (me included!) I'm partly quite proud of it given that we spent about £60 making the thing. Presently there are a few things bothering me tho. The main one is that I've ended up editing it and I'm not sure I'm the right person to do it justice. It takes me a looooong time to edit anything and the closer I get to the end, the harder and harder it gets for me to finish it! I'm wondering if I shouldn't really be searching for someone else to edit the thing? The other big thing is the grading of it. My laptop I'm editing on is terrible in terms of accurate reproduction and now I've pulled stills out of the video they look completely different again! Not sure where to go with it all but I thought I'd share the stills I have to hand! Anyway here's the stills. Obviously big Kenneth Anger influence and really low budget 80's sci-fi going on too: Freya
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