Jump to content

Search the Community

Showing results for tags 'Fluorescent'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Cinematography Forums
    • General Discussion
    • News & Press Releases
    • Lighting
    • Camera Operating
    • AC's & DIT's
    • Grip & Rigging
    • Visual Effects Cinematography
    • Grading, DI and Telecine
    • Students and New Filmmakers
    • Cameras Systems and Formats
    • Lenses & Lens Accessories
    • Camera Accessories & Tools
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • In Production
    • On Screen
    • Cine Marketplace
    • Business Practices
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Regional Cinematography Groups
  • Not Cinematography
    • Producing
    • Directing
    • Sound
    • Editing
    • Off-Topic
    • Forum Support

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Website URL


Skype


Location


My Gear


Specialties

Found 9 results

  1. I have a short coming up where I'll be shooting in a subway car standing set. I need to accomplish two things: a chase for the lights within the subway tunnel and a flicker of the overhead practicals. For the flicker I'd like to see the practicals themselves. Unfortunately I have yet to scout the set as production is a mess. This is a really low budget shoot so I need to figure out something crafty. My immediate thought for the practicals was to replace the existing units with Quasar or Astera tubes (especially since the Astera can be used wirelessly). The chase and the flicker will occur in the same scene. Any advice/ideas is greatly appreciated!
  2. Hey guys! My first post here ;) Currently I'm prepping to shoot my first short-film. I've worked as a DP on commercials and documentaries, but never on narrative film. The script I'll be shooting involves a great amount of tension on the characters almost from beginning to end, so, along with the director (we've worked together a billion time, also as a directing duo) I'm deciding how to bring this tension to the camera. Hard sunlight hitting the subjects face on a low-key enviroment is a great option, but I'm seeking ways to create this tension/contrast through color/color mixing. "Moonlight", shot by James Laxton is a nice reference, so, I was wondering how Laxton accomplished some shots, especially these ones: On an interview, Laxton says he changed the greenish fluorescents from the restaurant to get this blue look (although at the exterior shot they seem quite green to me), the one working as a backlight on the interior shot. I was wondering what kind of lamp is that and at what temperature? I imagine that the inside tungstens are 3200K ~ 2800K, but the outside blue is just to blue to be a regular daylight 5400K. Also, at what white balance was the camera set to be able to capture yellow from the inside and blue from the outside? Thank you guys very much, really happy to be a part of the forum ;)
  3. Hi, i'm currently in my second year of Uni and for my dissertation my question is "Will LEDs Lights be able to replace every type of light used in film production? " If anybody who has knowledge of different types of lights could help? By doing this questionnaire I'd really appreciate it thank you. :) https://docs.google.com/forms/d/e/1FAIpQLSd75cWHDKLyzAQ4gygI19yFEOWUUhkpW1tTUJZZWWP9uVXvmA
  4. Hey Guys! I'm going to shoot a shortfilm set in a dry-cleaner's in a bit and am currently looking for inspirational films/scenes that use fluorescent top lighting as key, since i would like to go with fluorescent tubes that are already part of the location as practicals. I'm currently looking into "The girl with the dragon tattoo"; "Arrival"; "Fight Club"; "Fallen Angels" etc. to learn how to create dramatic/thrilling scenes through the use of neon/fluorescent light from above. (The ceiling of the dry-cleaner's is going to be pretty low, so I don't think I'll be able to hang Chimera Quartz's of any size, my initial idea was going with diffused Kinos or maybe pancakes if there is enough budget for it. I also would be happy about more ideas of Lights to use. I also thought about bouncing light into ultrabounce/musslin/silk attached to the ceiling, I'm not really sure if it's the right characteristic though, so I need to test this in the next few weeks) So if you have a few other films on your mind that utilize remarkable top lighting, and of course your own tips/experience regarding working with top-light, I would be glad if you could share them with me! I'm also happy about every bit of behind the scenes material of films using this type of lighting! Cheers!
  5. Hey guys, I'm trying to create flicker on a fluorescent fixture in a hospital. Normally I would dim down on the unit or change the voltage to create the desired effect, but there is no drop down ceiling and I can't get access to the ballast without pulling the entire fixture down, which might not be possible. Has anyone used anything to flicker a fluorescent by where the bulb connects with the fixture? My other option is to find a bad bulb which probably won't be a problem at this location, but I'm not confident that it will look right without testing it. Any ideas? All the best, Andrew
  6. 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 film fluorescent tubing without flicker? If so, which bulbs would I need to get? - If fluorescent tubing is an overall bad option, are there any other types of light I could use for this effect? I looked at neon tubes but they are insanely expensive. - Would UV paint be a viable option for making the actors "luminescent" or are there other options? Any and all advice on achieving these effects would be GREATLY appreciated!! We will be filming with a Red Epic and I do have a decent amount of other film lighting available for fill but I need the tubing on set to and the actors to really glow! Thank you!!!
  7. Hello you all, Could anyone tell me what kind of bulbs / lamps where used in this scene inside the garage? I'm guessing it's 5600k kino's but I'm not sure.. Thanks in advance!
  8. This Summer I'll be in France shooting some B-Roll in the Paris Metro/subway. It will be entirely available light down there, and I'm pretty sure it's all fluorescent. How best would I avoid light flicker? Camera is an Arri 416 Plus, shooting 7219. MOS. My usual framerate is 24fps with 180 degrees shutter otherwise, but if I'm down in the Metro with presumably 50Hz fluorescents, would it make sense to shoot that footage at 25fps since it's MOS, and the 1 frame difference in camera speed would be negligible in post? I'd prefer not to pull out the shutter tool and switch the angle manually if I can avoid it. Will 25fps with a 180 degree shutter avoid flicker in Europe? Thanks!
  9. Hi! Does anybody have any links to any tests on commonly found hardware store fluorescent bulbs? I'm trying to look for one that gives a teal/cyan look - commonly found in Rodrigo Prieto or Emmanuel Lubezki's works. I did read a post where he was using Cool Whites but I am curious to see how others stack against it. Also, different brands most likely look very different from each other, so just curious if anybody had already tested them out thoroughly.
×
×
  • Create New...