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Found 10 results

  1. Hello. Film student here, looking for some advice. I've got a scene coming up that I want to set at sunset, but not wanting to confine my shoot to an hour a day I'm hoping to replicate that time of day instead. There are two locations to be lit like this, both interiors with windows and white walls. The way I'm thinking of pulling this is by shooting a HMI (at least 1.8 K, but could go higher) and relying on bounce from the walls to give more interior light, then cheating in a silk or bounce for fill lights in tighter shots while using the "sunlight" as key light. also flagging and neg-fill where needed. Either gelling the HMI or grading for the sunset color. Will that bounce be enough to fill the space and brighten up all the non-wide shots? Does it sound like it'll be a convincing replacement? Is grading the color in at all wise, or should I go to lengths to color the light on-set? Any help and advice is much appreciated!
  2. I stumbled upon this behind-the-scenes photo of the Transformers: The Last Knight and saw the grip holding a gold reflector. I know that for many of you this is probably nothing extraordinary, but I didnt really find many instances of it being mentioned in an interview with a DOP or something like that. The Last Knight really did have some lovely tanned, copperish skin tones in some scenes, and I wonder if at least in part that is thanks to the gold reflector. So I wanted to know is it really rare or not rare at all? Are there any DOPs that are known to use it whenever the scene might call for it or be suitable for its use? Then I saw that Manfrotto offers some other possibilities: Sunfire, Sunlite, and SoftSilver: https://www.manfrotto.us/30-tri-flip-kit-2-stop-trigrip-diffuser-7-colors https://www.bhphotovideo.com/c/product/418586-REG/Lastolite_LL_LR3696_TriFlip_8_in_1.html Some Web sites, however, seem to show that Sunfire and Sunlite are not uniform, monochromatic, but rather striped, coming in two colours. Or maybe Im not getting something. Sunfire seems nice, though I cant firmly say which one I like best. I presume that these reflectors are mostly used by portrait and wedding photographers. I know that white, silver, and black are the most widely used, but what about the others? Anyone tried them? Anyone saw them used or mentioned somewhere? I remember that I asked David and Satsuki about the checkerboard reflector in some thread around here, and I think that they said that they seem to recall perhaps Deakins using it somewhere. https://www.filmandvideolighting.com/6x6chregolim.html http://www.filmtools.com/6x6chlacat30.html http://www.cinemagadgets.com/productdetail/465
  3. I was watching the VSCO Academy’s video with some advice on doing food photography with a phone, and one of the tips was to use anything white as a reflector and fill the shadows with that bounced light. Could this really be effective? The advice does pop up in a few other places, for example, here: http://iphonephotographyschool.com/food/
  4. Hey All, This may be a random and or simple question. But recently when talking to a few DPs they have mentioned using large Matth Bounce for a night exterior scenes etc. I tried to google this to research and see what this Matth is all about but not much comes up. I did have poly bounce come up. I have used Black and white Grifflon before but never Matth or Poly Bounce. Any buddy know the technical differences between the 3? How reflective is one compared to the other etc. Thanks! I really wanna know what these tools can offer.
  5. Hey all, I'm coming up on a project where I'm dealing with a lighting challenge and the project is ultra-low budget for a non-profit, so I don't have a big team to drawn on. We're shooting a group of individuals together in the middle of a field near sunset. My vision for the shot and the way the location works best is to put the setting sun behind and slightly off to the side of the talent and fill them in with bounce. I'd love to have a few HMIs out there to fill, but the location is too remote, and doesn't really work for big lights and a generator. I've done this plenty of times when it's just a medium shot or MCU of a single person and you can get a white bounce in nice and close. That's no problem, but for this shot it's a group, I need to fill a larger area and the reflectors would need to be further back. Is there a formula or rule of thumb to estimate how large a reflector surface I'll need to provide a certain number of stops of fill? I need to know if a couple of 8x8s will do it, or will I need more and bigger, or if it just isn't possible and I'll need to scrap or re-imagine the shot. Any thoughts would be appreciated.
  6. Hey guys, I'm DP'ing a short film soon and need a little advice. I've not DP'd since exactly a year ago and have stepped away to 2nd AC and trainee in the "real world" so to speak. As such while I'm confident of my abilities on the camera side of things, my lighting experience has been limited to say the least! The script is mostly exterior - the A plot is a man in a car. I was wondering - how should I go about getting a consistent "look"? My plans at the mo are to use two HMI's and fire them at a 12x12 frame w/ two silks to create a big bounce. For closer stuff I made a reflector last year that work really well - it provided a strong eye light (a favorite of mine) while wrapping the subject in light. I've two choices of camera, the Panavision Genesis and the Arri D-21. The D-21 blowout is far more "filmic" and controllable (something I've found the Genesis not to be) but the black are far and away better on the Genesis. I have a lot of experience w/ the D-21 from past shoots, while the Genesis I've only been able to get my hands on a couple times. The D-21 can export LOG-C at 4:4:4 DPX files (no ARRIRAW), but the Genesis can only export REC-709 4:2:2 (no PANALOG), which with me being a post kinda guy is making me lean toward the D-21... but whadda you guys think? For anyone interested, here's the trailer for the short I mentioned, "Loved App" (shot with a Sony F3): If anyone's interested in seeing the full short and providing some critique, I can send the link! Thanks all!
  7. Hey guys, any feedback would back amazing! The short's won several awards nationally and internationally, while being nominated for several more. Shot S-LOG, graded in DaVinci. Shot on: Sony FS700 (the opening 'dream') Sony F3 (everything else) The F3 I feel performed well, but the FS700 left a lot to be desired. Link:
  8. I acquired a 4' x 4' frame made of 1" square aluminum tubes and would like to mount it to a c-stand. I am aware of mounting methods involving clamps and gobo's, but how does a Flip Flop Ear (http://www.filmandvideolighting.com/1sqtuflfleam.html) interface with a stand for mounting?? Thanks in advance for your insight! Hugh ps - first post
  9. Hi everyone Was hoping for some advice I'm shooting a live event this weekend where I will be positioned on a little stage to film a catwalk having done the show last year I was infuriated by bouncing from people sitting on the stand, stills photographers moving etc. As the flooring is not even and bounces. Does anyone have any tips to help alleviate this? I was thinking of going to a local DIY store and purchasing a big thick block of wood to place the tripod on top of but if anyone had any equally practical ideas short of screaming my head of at people moving inconsideratly it would be a big help. Chris
  10. Have you used a seamless backdrop as a bounce? I am thinking about using a 5x7 seamless backdrop as a bounce instead of a 4x4 diffusion frame since the seamless is bigger and should yield a softer light than a 4x4. Have any of you tried using a seamless backdrop as a bounce? I'm not sure how reflective a seamless backdrop can be. Just throwing this out there before testing it out on a job. Any input will be greatly appreciated!
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