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Found 8 results

  1. Perfect conditions! Regular import with box and genuine Sekonic pouch. Asking price is €850 If you don't have an EU or UK VIES enabled VAT ID I have to apply local VAT.
  2. Hey guys and girls I have an upcoming shoot where I need to light a few different office scenes in a way that looks modern, clean and uniform. The location we have has a good all around ambience that sits at approximately 4900-5800K throughout the day (this warmth comes from a large building across the road that bounces a lot of light into the space. Two space lights, balanced to daylight and sent through an overhead 8x8 butterfly with full silk, will light the boardroom scene, and for other scenes there will be a lot of practicals that will provide the motivation for areas where the windows wont be close enough to justify using them as a key source. These will be augmented with kinoflo's. In order to maintain the near-future, clean, uniform look I have opted to got for using daylight balanced practical sources only. My natural inclination is to use LED lightbulbs in the light fixtures. These include standing lamps, frosted balls that litter one of the spaces, and desk lamps. Here is my conundrum. I have searched the length and breadth of my city to find daylight LED's that come closer to 5000k so as to match the ambient light coming from the windows, however all I can find are 6000-7000k bulbs. Since the windows will almost always be in shot (there are a lot of windows) and the ambient light in the room is quite warm, I am trying to figure out how to have a uniform color temperature between that light and the practicals. Are there bulbs on the market that can achieve this slightly warmer temperature? How would you go about matching these two different light sources. Do any of the major industry LED manufacturers make daylight balanced bulbs, as Kino-flo does with their CFL's? I'm not using the CFL's because I cant find any in time, and most of the practical fixtures are too small to fit them. Thanks
  3. Hi guys, I was wondering if anyone has any tricks to reduce the difference in color temperature when shooting with natural light on a clear day. On sunny days I often like to shoot in the shade rather than direct sunlight, and often the "key" will be the blue sky, unless the sun bounces off a building etc. I always desaturate the blues/cyans a lot in post, but sometimes it's still not the desired look. I found shooting at 6500wb helps a little. Do you know of any other techniques to reduce the 'blueness' of the light in camera/on set? I like how both the areas in sunlight and shade look fairly neutral in these shots from The Game. Clearly the blues are desaturated by the look of the sky in the first picture.
  4. Hey Guys, Am I a total newbie or is everyone else aware that when you dim lights the colour temperature changes? I Just bought an As Arri fresnel kit 150w, 300w, 650w & 1000w and when dimming some lights and keeping others on full they no longer match. Seems if you want to dim you'll be needing some 1/4, 1/8, 1/16 CTBs.. but i've really never heard of anyone doing that? Do cinematographers basically never use dimmers and just ND lights? This picture http://www.photosnack.com/F8E7D87D75E/pdzne9m3 is of the 650w dimmed about 50% (left) and the 150w undimmed (right) and the difference is huge. Love to hear your thoughts, work-arounds or what you guys do with dimming situations. Cheers, Gene
  5. i'm only asking for help on how to convert the Sekonic color meter "CC" index reading to apply to the Resolve "tint" slider value in the camera RAW section. (no mired/kelvin issues for this.. just the CC value and translating that value for post work) On p12 of the Sekonic manual paraphrased, each CC index number is multiplied by 2.5 to get a Color Correction filter number... OK, that's awesome... for knowing what CC gels to use on lights... ...but how does that meg/grn adjustment number relate to the +/- 150 value in many applications (lightroom/resolve) I would also like to know how to apply that same meg/grn measurement to shots in post too. Here's an example: hypothetical fumbled studio shoot. Tungsten lamps, checked/metered in advance, all good. Power goes out, comes back on an hour later. one of the bulbs is now dead and is replaced. In a rush and don't re-meter lights notice after the talent leaves that something is off with the key (fill bounced) re-meter, yup for some reason the new lamp shows a CC index value of G2 (previous bulb was 0 on the Sekonic C-500) Write down the value... Fast Forward I am now sitting in front of Resolve and looking at the "tint" slider in camera raw window on the "color" tab. what do i set the slider to... +5 -5 +2 -2 .... or something completely different? Please explain in detail. Thank You so much in advance, I have given myself a headache from googling and re-reading manuals =)
  6. Hi. I going to shoot a short film in a high school. We have some large windows with bouncing daylight coming in. I want to use these type of bulbs from Phillips with a quite high CRI: Philips 32-Watt 4ft. T8 Natural 5000K ALTO Linear Fluorescent Light Bulb.Do anyone have experience with these? Or do you recommend something else:-)? Henrik www.henrikameyer.com
  7. Hi I'm shooting in 10 days comercial in a futbol stadium . We are planning to support our light with the HQI Lamps from the stadium . Does somebody knows the color temperature? Or if they are more blueish or greener?
  8. hello everyone, I'm a final year cinematography student of ftit, chennai, tamilnadu. Within a month, I'm going to do my diploma film, the academic exercise.My director wants a blue tone overall the movie. so somebody give me suggestions to achieve it since i'm a budding cinematographer. Herewith I'm attaching all the equipments i would be provided : Arriflex III, 500T (2 nos), 200T (4 nos), lenses- 24mm-290mm zoom, 24mm, 35mm, 50mm, 85mm, light- 1kw, 2kw, 5kw. I know many methods would be available like using filters and all, but i would like to know the effective method that would be apt for the mentioned requirements. By the way, the diploma genre is a thriller. Regards Kirubanidhi
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