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Found 24 results

  1. 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!!!
  2. 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 use negative fill when possible and I have some 8x & 12x frames w/ rags and a couple 1.2 hmis. Its a remote location and tiny budget. I was just surprised to see how flat the light was and how a person gets swallowed by the busy yet uniform environment. Oh- and the actors are wearing dull colors-jeans, dark sweatshirts, etc. I will ask wardrobe get a little color contrast against the green environment. Thanks,
  3. 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 have an accurate color baseline for me to modify to fit my story. I am looking for a warm, medium contrast, and slightly diffused look. Something in between George Washington (2000) and The Long Goodbye (1973). For this, my idea of was to shoot with some TLS Rehoused Super Baltars, and apply a Tiffen Warm Black Pro-Mist 1/4. What do you think?
  4. 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 hide from the camera, so I already sketch some shots from behind and from the side (shooting in the passanger seat), and I think their going to work, but I'll glad to hear your thought an ideas about this. Third, the character is kinda clumsy, so is important that when she monologue, she take off the belt and forget to put it back, or maybe look the radio and no the road, or when she grab something from the passenger seat, that the car maybe shake for a moment before the woman take control of the wheel again. Is nothing from a Fast and the Furious movie, but I told you because I don't do it anything like that in a busy road with a lot of cars. About sound, I think that, like most of the shot we barely see the woman's mouth, we're going MOS and later do ADR of that scene, and fill all the car sounds with the sound engineering. And like the background is not that important, I think to get a place (like a farm) when the talent can drive in an internal road and there's not going to be cars around. That's were my thought about the scene, but looking for information, I find that you can take the "poor man's shot" an film the car stationary. Anyone can tell me your experience with this? I understand this is the best way for safety reason's, but I have the feel that if increase the cost of the short film (for all the work in post with a green screen) the director is going to veto the idea. What about the talent driving while acting? Is going to hurt her performance or you believe it doesn't matter? If you want to know, the scene has to be mundane but at the same time, is important that you (the audience) notice how careless or clumsy is the woman. Also, is the first scene of the short film, so to me is important that have quality because if you get distracted by some thing wrong, is going to damage the rest of the short film. Oh, and the last one. It should be a sunny day (for plot reasons) so what about the lighting? If I could, I'll shot in a cloudy day, but that's not possible. So, do you have some thoughts on the matter, or have any experience could help me? Let me know if you need to know more about the story or the production. I have some sketches from the location (the car) about camera position and some story boards, but I can't upload from here. If you want them, let me know. Thanks a lot, bye!
  5. http://www.ebay.co.uk/itm/Dedolight-5Ft-Panaura-Daylight-Tungsten-Kit-Eggcrate-/302468506880?hash=item466c872500:g:PVsAAOSwkWNZobb3
  6. 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, including headlights, when in the dark or low light situations. I love that effect and want to achieve that on my film. I have heard something to the effect of that you can get that effect if you use tungsten film as opposed to daylight (something about the emulsion color balance, I would assume). So, is that necessarily the case, and if not, what do I do to achieve that effect? (WITHOUT using a CTB) 2) I am not going to be using any special effects at all. My film will be straight-up, 100% film sent through the camera and then processed. I want my film to have a specific hue, graininess, and even color balance that was common in films from the 80's, and more of an extent in the 1970's and 60's. Below I will include a link to a clip of a 1975 movie that shows a close representation of the look I want. The question therefore, is what brand/type/speed (and any other specific data) of film do I use to get that look? If that is even possible. Thanks so much for all of your help and answers! I feel intimidated by all of the talented cinematographers with all their experience, but at the same time count myself lucky as I can avail myself of it! :)
  7. 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 flagging, rather than creating light. Wondering if anyone could elaborate more on this.
  8. 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 something invisible in a shot behind the window or the other way around?
  9. 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 a nice shaping to the face (the presenter is female and around 40). We do have money for a couple of smaller lights but can't rig them outside unfortunately. Thanks in advance for any advice you have! - James.
  10. 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
  11. 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 out of budget and this wouldn't be used that often. Does anyone have any ideas? Has anyone seen any creative solutions for getting a lot of daylight for your buck out of a 15A outlet? Also considering lipo battery/giant inverter options for quick shots that require more current. It's definetly not something that would go on a truck for day-in-day-out production use by different crews and such. Looking to get something that will output around 50 foot candles at 30ft from subject 30ft+ width beam. Softness/hardness isn't a concern at this point, just getting exposure is hard enough. Impossible to find/build?
  12. 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 100 travel bag is included as well as an older, non-focus, square 100 reflector which is the only item that needs some tlc. Asking $28,000 ($40,000 if purchased separately - the Scoro alone is $14,000). I’m really interested in selling the whole kit (not breaking it up). So either the dual purpose fits your business model or you know someone who can appreciate the amazing features of the Broncolor Scoro S. If interested, message me and I’ll send photos (or video) of all the items. Again, the focus reflector is brand new, the Scoro is like new (6 jobs shot on it), and the only item with age, the Briese HMI ballast and head, has just over 1000 hours. Thank you. Mark
  13. 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 on all the windows. Do you guys have any ideas?
  14. 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? Or does anybody have an idea to add interesting light? What would you guys do? thanks, carlo zappella
  15. 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 backlight above the window? Or does anybody have an idea to add interesting lighting stuff? What would you guys do? thanks, Carlo Zappella
  16. 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 on all the windows. Do you guys have any ideas?
  17. 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 schedule accordingly. My question is, in the event that the water is in a shaded area that needs to be lit for sunlight, how big of a unit will I need to get this effect at a decent stop (2.8+) while creating enough ambient bounce-back (can be quite contrasty). Will an Arri M18 suffice or do I need something bigger like a 4K? At the moment, we're talking about shooting Red Dragon, so we will likely rate it at 800 ISO. The concept is pretty abstract, so I'm completely ok with a fair amount of fall off. Thanks!
  18. 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.youtube.com/watch?v=HGuALakdNQY Can anyone make sense of this? Regards, Josh
  19. 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 on the characters' faces etc.? -Will my additional lighting clash with the fluorescent? -What gels/filters are applicable? -Also, of course: 250T or D? -And do I lose a lot of speed by balancing the existing flourescent lights with my stock.
  20. 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 - 2PM if wide diffusing isn't an option? - Do you try to backlight the actors as much as possible with the sun? - If your wide was very contrasty, then do you try to match the contrast on CU, or will you ignore the consistency and go diffused instead? Thank you all for taking your time to read this post. I'd really appreciate your opinions on this.
  21. 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 though I may get some use out of them in CUs. My other fixtures, LEDs won't have the power. I've a tungsten 650 fresnel but I'm not sure about introducing a hard tungsten light into the mix unless perhaps a backlight if I ctb this baby up will it still have the necessary power to be useful? Any other suggestions? It's not a problem having all the ambient as it's a fairly upbeat talking heads style shoot, but I just wanted to have a little more control over the environment, and it's always handy hearing what others would do - great way to learn :). Knocking out the ambient to have complete control over the light levels - as I know that sunlight temps and levels will be constantly changing won't be something we'll do too much of though I've done it a lot in the past. Changing light levels won't be much of an issue as although the shoot is full day the interviews are short and don't need to look the same.
  22. I'm a student cinematographer in Cape Town and I am doing a paper lighting with the following question: How can I light a evening dinner scene with 10 people around the table at night. Shooting at day time with two windows letting sunlight in. I have an idea it has got something to do with mixing colour temperatures... Do note we are not permitted to black out the windows.
  23. Full disclosure: I work for Dracast in San Jose, CA. We started a 50% off clearance sale on some of our studio LED lighting for Black Friday and Cyber Monday. The promotion went so well that we're continuing it through December. You can find our discounted products here: http://dracast.com/december-specials.html Happy Holidays!
  24. Hi Everybody, I'm shooting some of Pro8mm's Ektachrome 100D on my Canon 514 XL-S. My question is about the daylight/tungsten filter. I've heard from almost all people that I need to have the filter switched to the lightbulb tungsten setting. As counterinuitive as it seems, I've heard that it actually correectly exposes the Ektachrome that way. I just want to be positive about this, and would really appreciate any personal experience shooting on Pro8's stock on this camera. Thank you!
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