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  1. Hi everyone, I've seen different topics here talking about lighting during an overcast day, but I couldn't find a case close to mine. For a commercial, which will unfortunately happen during an overcast weather and even maybe during raining days, I was wondering how can we light a very wide shot. The space to light is about 100m deep on 15m wide. I attached a picture of the frame, so you can realize better. I was thinking of using some HMI, but I just can't know how many do I need and which wattage. It could be great if some of you have some inputs to
  2. Whilst one might purchase a roll of 250D and 200T and test this out as I would, as it happens, I have been wrung out of all my money the past three months. So, rather than try to self hypothesize in my head, I may as well put the proverbial nail in the coffin in an attempt to suppress my ADHD and OCD. Which leads me to my questions... A) Color-wise, what can one expect when using a tungsten balanced stock with an 85 or 85B filter, rather than simply daylight stock aside from the two-third stop of light? B) To further elaborate on question A, normally how significant is this color ch
  3. ARRI Studio Ceramic 250 Hi Guys I am interested to hear peoples opinions on this light it sounds like something that would be very handy to have in my kit. It seems to have a built in ballast and the bulbs can be swopped between a tungsten 3300k bulb to a hmi type bulb with a 5500k temperature. They power usage is 250 watts and has a light output the equivalent of a 1k tungsten. They sound to have a lot versatility and they run cooler temp wise. But am i missing something here. Why are these not that popular, fair enough they are an older light fitting buti have never seen one of th
  4. I have a shoot coming up and we're planning on using a chimera L on a daylight fresnel. I don't use chimeras much and I need to pick which size light to use. A D12 is going to be much easier to rig, but we have the option of using a D25 if we need the extra stop of light. Budget is tight and we can only afford one light. I find the arri photometrics app handy for direct sources and was wondering if I could find any info on how much the chimera is going to cut the light by ? Say x ft away, for a 1.2k source how much light will I get centre and off to the sides by about 30º ? Would be
  5. Hello, It's that time of the year again! I'll be shooting outdoors, in color. I'm not sure what the Daylight/Tungsten filter setting should be. 1. Does the camera automatically detect that 7203 is a Daylight stock, therefore effectively pushing the 85filter out of the way? 2. Does the user have to set the filter switch to Tungsten to make sure the 85filter is out of the way? 3. Should I just always keep the filter switch set to Tungsten (light bulb), so that the 85filter remains out of the way? Thank you!!!
  6. Im scouting for a film now where one of the main locations is very dense forest with a solid canopy. The undergrowth is green, the leaves are green, the moss is green, the light even feels green. The tree trunks have very little character and are skinny. I do have a fogger setup and it has tested well- so at least I can bring areas out from what looks like an infinity of skinny trees and greenness. The sun is almost nonexistent, save for some very small dappled beams. My question to you is how can I bring the characters out- especially in the wider shots -without it looking lit or fake? Ill us
  7. Im am curious to gather some opinions. I plan on shooting a short in the near future on 16mm. Naturally my choice of stocks are limited to Kodak, and for production purposes 250D would be my best option. Now, really hate doing color correction and DI. I dont like doing it myself, and I dont want to pay to get a colorist to do it for me. I am wondering, how accurate are the colors of 250D, raw out of the stock? What sort of work would I have to do in post to make them accurate. Are there options for me in filtration to normalize the stock? My thought process is, that I want the stock to hav
  8. Hi everyone, on February I'm going to shoot a short film (5, 6 minutes long) and I have an scene in a car. The scene is short, least than 2 minutes, and have just a little of dialogue (a monologue in fact). The talent is an old lady. the scene is in the day, and the background has to be some kind of road or highway, but is not important to have a lot of cars, and anything happens with the road itself. Now, the tricky parts. First of all, is a short film practically without budget, so we can't have a car rig or a car trailer. Second, is important for the plot that the passenger seat is hid
  9. http://www.ebay.co.uk/itm/Dedolight-5Ft-Panaura-Daylight-Tungsten-Kit-Eggcrate-/302468506880?hash=item466c872500:g:PVsAAOSwkWNZobb3
  10. This is the first of MANY posts I am probably going to do, on this and also on other filmmaking website. I have a huge (very SPECIFIC dream) of an independent motion picture I want to make, and have all these ideas knocking around in my head, and am overwhelmed and unsure where to begin. These forums would appear to be my only savior in making sense of all of this and getting advice I can use on my Film Adventure! :) Therefore, the first two of the many questions are these: 1) I have noticed in many older films (1980's and prior) white artificial lights will have a bluish hue to them,
  11. Hey all! Newer to the forums here. I'm shooting a senior thesis project coming up next weekend, and like any student project I'm trying to always up my game to the next level. We're shooting a lot of daylight exteriors, and I plan on setting up a lot of 10x's with diff to just get some more control of the light and to keep it consistently soft on close ups. My understanding of the workflow between G&E is still growing, and I was wondering what the gaffers role would be on a daylight exterior scene? It feels to me more like we would only need a KG on a day that we're just fla
  12. Do the table or desktop lamps in shots have a particular purpose? What is the typical purpose of those lights in frame cinematographers use them for? Once I noticed them turned on almost all the time, I now can't stop doing it. Sometimes one or more are turned off. I would also like to know whether DPs like to mix light, especially artificial light and daylight, and why, since this is something I thought was ugly and should be avoided. It seems it's quite the reverse. In the end, light coming through a window and through a curtain – is it almost always filtered through somethin
  13. Hi guys, I've got a project coming up filming a cookery video. There's no budget for big HMI's to punch through the windows so I wanted to ask what other solutions people were using when you don't have access to the bigger lights? The sun will be on the other side of the house so I don't think we'll be having to work against it which is a slight bonus! We're shooting between 9am and 4pm. There will be a presenter/chef stood just behind the chopping board for the duration of the video talking to camera and going through the recipe. I want a relatively bright, daylight look with
  14. So Ive got some scenes in an upcoming feature where I really want to have big bands of light coming thru each of 3 windows. Each window is about 8 feet wide and probably 30 feet tall. Its not a very large budget, but there are a few resources. Generally speaking, would I need 12/18k HMIs in each window to get some shafts (along with haze/fog), or could I get by with some 6ks? Ill go ahead and thank David Mullen in advance
  15. A colleague of mine with a small production company is struggling with work, I'm doing him some favors lighting with my tungsten kit to help make his projects look better in hopes of grabbing in some clients with deeper pockets. Sometimes we need a bright pool of daylight because the cameras used aren't very sensitive (around 250 ASA) and/or shooting into windows. I was thinking of putting together an array of those giant 6500k 105w CFLs with 90+ CRI, though keeping their built in ballasts cool might be a concern if they're packed in closely. Renting isn't an option; HMIs, kinos, etc. are o
  16. Looking for a buyer who shoots stills as well as motion and would rather own then rent a dual purpose Briese. I'm selling my Briese Focus.2 100. The Focus.2 100 is brand new and comes with motion and still setup. For motion, an older Briese 2.5K daylight HMI with just over 1,000 hours on head/ballast (works great). For stills, brand new, factory direct Briese strobe head fitted for Broncolor packs with a like new Broncolor Scoro S 3200 RFS Power Pack. All additional tubes/accessories/adapters needed for the Focus.2 100 to go between still and motion as well as 1/4 and 3/4 diffusion. The Focus
  17. Hello, We are shooting a short film. One of the locations is a 3rd story Apartment, with small balconies on some windows. We really want to use the location because it is an original 1970s Austrian Apartment with interiors. How would you light it though? Or would you? Shooting with daylight for three days could give us some continuity issues. Or would you shoot all of the shots featuring windows at once and then everything else seperately? I thought about putting lights on some of the balconies and putting up see-thru curtains , so they're kinda blown out, but it wouldn't work
  18. Hi We're shooting a short film and one scene plays in an apartment. We found this 3rd story apartment and really want to use it, because it is an original 1920s Austrian Apartment. We need a 7 minute dialogue scene in the Apartment and are thinking of how to shoot it. We wanna shoot it four days and have as little of a hassle as possible. I thought about putting lights on the balconies and see thru curtains on the windows, but they're not in front of all of the windows (the balconies). Could I just light it from the inside and somehow place a backlight above the window?
  19. Hi We're shooting a short film and one scene plays in an apartment. We found this 3rd story apartment and really want to use it, because it is an original 1920s Austrian Apartment. We need a 7 minute dialogue scene in the Apartment and are thinking of how to shoot it. We wanna shoot it four days and have as little of a hassle as possible (lighting continuity errors) I thought about putting lights on the balconies and see thru curtains on the windows, but they're not in front of all of the windows (the balconies). Could I just light it from the inside and somehow place a backli
  20. Hello, We are shooting a short film. One of the locations is a 3rd story Apartment, with small balconies on some windows. We really want to use the location because it is an original 1970s Austrian Apartment with interiors. How would you light it though? Or would you? Shooting with daylight for three days could give us some continuity issues. Or would you shoot all of the shots featuring windows at once and then everything else seperately? I thought about putting lights on some of the balconies and putting up see-thru curtains , so they're kinda blown out, but it wouldn't work
  21. Hello there, I have a project coming up in a couple months that will involve shooting underwater (most likely in a pool). The aesthetic is rather straight forward in that I just want to create a moody top-lit sunny look and shoot from below the surface and the subject, but my approach will change based on how the sun moves over the water (if it does at all). If the location is shaded for the majority of the day, I will bring in a couple of HMIs to simulate the sun and shoot down into the water, but if the sun is already doing this naturally, I will most likely just work with that and
  22. Hi all, I have recently been trying to practice loading film into a super 16mm modified krasnogorsk k3 and am coming up against some odd problems. Firstly I was not the one who performed the modification and the loop formers are removed. From what I understand this is to stop the film from getting scratched. When loading the film and feeding it through everything seems to be fine at first and I run off a good few feet to make sure it is going through okay. But then once the lid goes on and I press the trigger the film immediately jams. Here is a video of the issue. https://www.
  23. Hi, Sorry, this is my first post. Im about to start filming my first year graduation piece and I'm not sure what stock I need to order. It will have a mix of interior hallways (a school's corridors with low angled lighting entering through doorways) and early morning exterior, 9/10a.m. (note that I am in Ireland so it is generally over cast) The school is lit with those fluorescent ceilng tubes which, I know give a green tint to skin tones. -This is my big issue, I am desaturating it in post production and I need to know if this greenish tone on the skin will affect the contrast
  24. I'm about to shoot a tiny test project where a 3 page Conversation scene takes place at an open spaced parking lot. Looking at the forecast, I expect our day to be a cloudless sunny day. I just wanted to hear some of your techniques on working with the sun, precisely on timing & scheduling your shot. How do you work with the sun? I'll take all the explanation you got, but a few questions I would like to have them answered would be... - Do you schedule the wide master on early AM or Magic hour? - Do you choose to not shoot when the sun is directly above, sometime around maybe 11AM
  25. Hi I've a shoot coming up in an environment with a high ambient level - indirect sunlight in a large white room- lots of windows - lots of daylight - but nothing too direct (windows are north facing etc) so handy in a lot of ways. However, I'm just wondering what you guys may suggest for sculpting the light a little more? HMIs are out of the client budget so I'm thinking of sculpting with the natural light as much as possible using reflectors, diffusion and negative fill. I've got a couple of kino style fixtures, but the fall off on these won't help me much in the wides and mids I imagine th
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