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Found 16 results

  1. Hey everyone! I'm looking to light an exterior night scene in the woods, and really want that unrealistic powerful back moonlight look. All of my actors will be keyed by their own lanterns, but I just want to have that moonlight in addition. I came across this scene from Stranger Things season one, shot by Tim Ives, that really resembles the look I'm going for. My question is, does anyone know how this scene was actually lit? I can't tell if it's a single soft source or several sources, and how the characters are not backlit but the fog behind them is. Also, if anyone knows how they would
  2. Would limiting myself to using only the 9 or 10 Storaro gels from Rosco be a reasonable creative strategy for maximizing visual impact while streamlining the decision process? (With the exception of CTB, CTO, and CTS, of course). Are his colors versatile enough to tell every kind of story, convey every emotion? Why? I’m exhausted. Between Lee, Rosco, Apollo, and GAM there are thousands of gel colors available. But I’m old as old can be and don’t have time to learn the nuances of so many options before I’m dead. Plus, Vittorio is a much greater genius than most of us...
  3. Anybody happen to know if the cool blue moonlight looking ambient light in this scene was done through gels? If so, which gel do you reckon it might be? Arrival-Bradford Young https://fancaps.net/movies/Image.php?name=Arrival_Screenshot_112&imageid=2493209
  4. Hi everyone, I'm a long time reader and a first time poster and student. I'll be shooting a shooting a short film in about two months from now which calls for "a bar lit with neon signs". Think of the Bud Light and Heineken signs many bars have as reference. Obviously we won't be able to use any brand signs because of legal issues but I've been thinking of several alternative ways to achieve the same mood. Also real neon signs are expensive and a serious safety hazard. Also keep in mind that the bar will be filled with fog similar to heavy tobacco smoke you see in many movies.
  5. hello lighting gurus , I'm shooting a musical in a restaurant that has a bunch of overhead fixtures and we're going to include these fixtures into some of our shots...each fixtures can be best described as a three socketed bulb cluster that's been packed with CFLs and one inverted paper umbrella ( with a slight yellow tint ) that diffuses the throw....the insets are painted blue/green and they affect the bounce to a degree.... I want to shoot a "sodium vapor" source through the windows on the right , the windows will be diffused...I'm thinking of playing regular tungsten on the floor, lik
  6. Hello, I'm working as a gaffer for a student film this January. The story is a drama/thriller that follows a man who dies and becomes trapped in a sort of limbo state of being. It's dark. It's fantasy. Our budget is very modest, but I'm very interested in using half hampshire on the windows for all day interior scenes - I love the blur it gives. However, those scenes make up only 30% of the film and the rest is night interiors. I'm wondering, can hampshire be used on windows at night to any great effect? I've looked into using dirty water and a spray bottle, but I imagine it will lack
  7. How do you store your gels? I spent some time searching and came up with nil here on the forums. The reason I am asking is because I am going from set to set, seeing various gels and filters being thrown in a tall trashbin or tub or something of the like, lacking any organization and efficiency. I am still fairly inexperienced and low-budget, and don't have means of a storage facility nor the luxury of storing them on frames. I'm beginning to grow my collection, from smaller rolled up 4x4 sheets to actual full rolls, and as they are fairly expensive, yet still expendable, I can't come up
  8. I was wondering how is it that these gels came to be? When did Rosco decide to ask Storaro to create them? And why did Storaro choose precisely these ten colours? How much has Storaro himself used the gels? Are there any particular instances of striking use of one or several of these gels? https://www.rosco.com/filters/cinegel.cfm?CategoryID=5
  9. Hi everyone, I am a student currently writing about diffusion filters in a short research topic for my BA course. I was wondering if anyone could think of any topics extra I could cover or speak about in more depth. So far Ive spoken about: basic introduction to difference between soft and hard light the various diffusion gels available, EG Frosts, Silks, White diffusions and Grid clothes etc. the results of these gels the effects of strong vs weak diffusion on the tone of a model The visible transmission and light absorption of diffusion gels The effects of increasing and de
  10. Folks, I have a practical location where one of the key story elements is a window in a living room. Since we're in Southern California I need to gel the window so it doesn't go "nuclear" while we're shooting. What is the best way to apply a sheet of ND gel to the window? The assumption is that we'll start with a Lee ND/0.9 4' gel sheet because that's what we think we can get inexpensively. If there are better/easier/cheaper options I'd love to hear about them. Using "big" lights isn't an option for budgetary and crew experience reasons. The house is a 1940's style rambler with
  11. I lit a music video last week, and one of the setups called for lighting as if it was 'twilight'. I knew just using CTB to get the blue light of twilight wouldn't work, so I did some research and ended up buying some Lee Filters 161 Slate Blue. I used Slate Blue on some HMIs, and softened and diffused the light as much as possible to get the soft blue light that you see just after sunset. I was quite happy with the outcome, but it wasn't really the kind of blue I was after. I was wondering if anyone else has had experience using special colour gels to light for twilight? What kind of setups di
  12. I'm gaffering on a short film this week, and had a basic selection of gels to chose from for the shoot from our university. I've got the standard CTB/CTO gels to use on our lights. I was looking for some CTS (Straw) to use on tungsten units as morning sunlight, however for some reason all I could get was No Colour Straw (Rosco #804). It seems to still produce a nice light with a slight yellow tint, which suits a morning sunrise. I was wondering what the different between normal Straw gel, and No Colour Straw gel is? I bet it's so minimal, but it would be good to know!
  13. Starting a feature this week and the director wants a very "yellow springtime" look to our lighting. Mostly the highlights. Attached is a photo and isn't the best because the female is blonde as is probably natural backlight but this is the the rough tone. So my question is: to get that warm almost sunset color without getting too red/orange, has anybody played with more yellow color correction on daylight lit scenes? So on our HMI's instead of adding CTS or CTO for a little end of day glow playing more with yellows. I've but aside (from LEE) 100 Spring Yellow 767 Oklahoma Yellow
  14. hello everybody, as am about to shoot a commercial in paris, featuring indian models, i was wondering if you guys wanted to share ideas on which gels to use to enhance the skintones for the beauty shots. these are the models: http://inega.in/v2/models/male/manu/ http://inega.in/v2/models/female/ana/ thanks a lot
  15. Hey all, I've been itching to find a good solution for easy transportation of my gels, and keeping them organized by color and strength. I was leaning torward precutting the gels into squares (the biggest light we have in house in an Arri 1k, so I would cut to those dimensions), and having them in thick book, and then I could put dividers in for the names. Right now I've got them rolled up in a bag then don't completely fit into, and there's no quick reference for the strength of which gel. Let me know if this is a dumb idea and/or if there's better, more professional solutions. Thanks!
  16. When adding a flavor of color theatrical gel what is the best practice when being cautious of white balance? Ex. Say I'm using an odd HMI lamp as the key and it's reading 5400K via a sekonic c-500 meter. The desired White Balance is... lets say 3200. My pCam app says the the mired shift is 127. I toss a Rosco 3401 Sun 85 gel or perhaps a 3/4 CTO gel to get me mostly there (either gel is rated at 131 mired) Great... but now the art director/dp/client/boss says they want the light to be green...? Do I then add a green filter on top of that... ...or do a magic trick w/ thinking
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