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Found 12 results

  1. Taken from the industry showcase and networking channel of IN / DEVELOPMENT. Got their YouTube here: https://www.youtube.com/c/indevelopment Below is copy-paste, but the links are super interesting and Stephen's insight and honesty is wonderful. The series seems to have just started so might post more if they're great. Can't see anyone else mentioning them before. - - - Joe Douglas talks to fellow cinematographer Stephen Murphy about his professional journey, a few memorable productions and his view beyond the current pandemic. FEATURING SCENES & COMMENTARY FROM - The Favourite, The West Wing, The Moonstone, Hanna, Line of Duty, Years & Years, Krypton, Death and Nightingales and more. STEPHEN MURPHY - BSC, ISC https://www.stephen-murphy.com/ https://www.imdb.com/name/nm1094426/ https://www.wp-a.co.uk/clients/stephe... https://www.instagram.com/stephenmurp... JOE DOUGLAS http://joedouglasdop.com/ https://wizzoandco.co.uk/agency/joe-d... https://vimeo.com/joedouglasdop https://www.instagram.com/joedouglasdop/
  2. Hi Everyone. I am new to this website. My name is Tayyib Mahmood and I am a film student at Birmingham City University. I am writing a dissertation on a comparative analysis between LED and Tungsten Lighting and I need of a few interviewees. This can be done over video call (Skype). I am in need of anyone with industry experience who would like to give me their opinion on Tungsten and LED lighting and which would be dominant within the upcoming years. Thank you, Tayyib
  3. This film was supposed to premiere today at the Cannes Film Festival. Darius Khondji will be there, according to afcinema. Apparently, Netflix did not want this to be shot on film and demanded it be shot in 4K: The film got into a controversy between Netflix and the Festival because Netflix didn't want to show the film in French cinemas. The screening was stopped today because of heckling. Here is a fresh interview with Darius Khondji – in French. Check this link, too. Here's another one, in French again. Funny that he says he hopes he has no style. The film will be released on Netflix on 28 June 2017.
  4. Hi guys It's my first post on the forum, so go easy on me please ;) I given the following reference video and was asked to recreate the look in a small studio: How would you guys approach it ? I'm thinking to have the key light very close to the camera's axis and then I think there is also a diffused backlight to fill in the shadows on the subjects left side. And of course some sort of cookaloris for the background. I'm not sure what kind of key light was used here. Is an LED through 4x4 silk, or maybe tungsten bounced of polly ? How far do you think the subject is from the back wall ? Appreciate your help. Thanks !
  5. http://goo.gl/R5ZPn0 Interesting read, but I think it got a little heavy handed against digital. Particularly that his argument about an audiences reaction to pixels vs film seems pretty moot when everything is scanned and presented on digital projectors these days. Would be interested to hear other peoples thoughts.
  6. Hi everyone, I am a student at a film school in Milan and I have to write a final dissertation on a topic of my choice. At the moment I am interested in writing a thesis on the use of practical lights, on their merits, defects and on the close relationship that you have to establish with the art department to create a narratively effective light design. My supervisor does not want an overly technical view, but a view that speaks of what artistically involves the use of practicals and how their use evolved over time. Can you tell me if there is some book that talks about the subject exhaustively, or even documentaries, interviews and movies? Thank you in advance!
  7. Hi Guys, Wanting to re-create look for a interview. Looks like they had a soft source from above but that's not really an option for us so looking at using a soft fill from the side with hard backlights. Just wanted to know how you interpreted their setup and how you would best replicate it with the following equipment: 2 soft boxes 3 Dedo 150W hard heads cheers,would appreciate any advice or thoughts Rob
  8. Hi All, I recently picked an ex88 rifa softbox to shoot talking heads. I recently tested it out and ran into an issue with hot spots on the subject's face. The silk on the rifa is 32x32 inches and I was also using the eggcrate. The source(1k) was about four feet from the subject. I didn't try using powder during the test. Is there anything else I can do with the softbox to avoid hot spots? Thank you for your insight and time!
  9. An interview I conducted for my blog with cinematographer Seamus Tierney about his work on the film In a World. Shot on RED Epic with Hawk C-series anamorphic lenses. Here's the link if anyone wants to check it out - http://bit.ly/1f7temj.
  10. I recently put up an interview with the cinematographer of the horror film You're Next - Andrew Palermo - on my blog Deep Fried Movies. The movie - which is still in theaters - was shot on a Red One MX with Zeiss Ultra Primes back in the early months of 2011. It's not an American Cinematographer Magazine-level of technical detail, but I thinks its specific enough about the craft that some of you folks might find it worthwhile. There aren't really that many sources for DP interviews out there and I'm hoping to add many more to the blog. Check it out here.
  11. I saw this awesome video the other day by Garrett Shannon and I'm trying to figure out how he lit the interview/talking head portion. It's very clean and very soft, and I would like to figure out how to light something like that. If anybody has any idea please share it here! BTW you can watch the video online here: https://vimeo.com/51228350 Cheers, Mark
  12. Hi there, at the moment I'm trying to find a light setup for a online guitar lesson video. I'm rolling on a 5D mk3 with a 24-105 f4 Lens. I'm posting here because I'll have to rent lights and wanted to know if my lighting setup would be good. Just some impressions to the scene. Filmed is just one perspective - from the front, framing around the head, guitar headstock, bottom of guitar and somewhere in the middle of the right arm. The background is deep, so no background paper or similar directly behind the talent. There are no windows, so no daylight. I drew a rough idea of the setup. Is that an acceptable setup or am I totally wrong? Are Watts sort of right? What would you suggest? Thank you very much, Pablo
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