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  1. Hi, We are two technicians working in the film industry in France (a grip guy and a gaffer) and we just discovered this very interesting forum. We particularly noticed that gaffers and cinematographers were asking questions about light output and what aperture is obtained at a certain distance. It happens that with the help of two IT engineers we developed an iOS app responding to this question about 2 years ago. First and for all, we’re not going to post messages everywhere on this forum to sell our app nor are we going to pollute your threads to gain in visibility. We just think some of you might be interested in what we created and since we’re a really small team working on off-time we can’t do any real advertising, so you probably wouldn’t know our app existed. Our app is called Predilux (for pre-diction and lux for light) and predicts the exposure as measured by a light meter, by choosing a light source and a distance. Or inversely predicts the distance to the light source by specifying the exposure. Predilux takes into account: Camera settings (FPS, ISO, Shutter angle) Source settings (Focalisation, Lenses, Grids, Dimmer, CCT, etc) Gels mounted on or close to the source (All ROSCO e-colour+ range) All results have been experimentally verified by us with a light meter in rental houses. For each source setting we made several measurements at different distances and this took a lot of time. So Predilux does not rely on constructor’s data, but on real data reflecting the state of the equipment as found in rental houses. Our data sometimes differs from the constructor’s data. Here is a quasi exhaustive list of the sources measured and included in the Predilux (12/2019) : Tungsten ARRI 150, 300 Plus, 1K Plus, 5K Fresnel, T10, T12, Rubylight (MFL lamps) Briese 77, 100, 140, 180 with lampes ranging from 650 W to 2K Mole Richardson Softlite 1K, MaxiBrut 16 (MFL lamps) Openfaces such as Redhead, Blonde, Desisti Renoir 5kW and LTM Cyclight 2K ETC Source 4, Dedolight, Zaplight, CMC 20K, etc. HMI ARRI AS 575, 1200, 4K, 6K, 12K, Arri M18, M40, M90, ArriMAX 12K & 18K K5600 JokerBug 200, 400, 800, Alpha 1600, 4K, 9K, 18K AFM 575, 1200, LTM Cinepar 2.5K Fluorescent KinoFlo 2ft, 4ft & 6ft LED ARRI S30, S60, S120, S360 KinoFlo Celeb 200, 250, 400, 450, 850 DMG SL1, SL1 mini, SL1 Switch, MaxiSwitch Mole Richardson Tweenie, Senior, Tener Aladdin Biflex 1x1, 1x2, Flexlite 1x4, 350 Dedolight bi90, Cineroid LMD400, Velvet V1 Balloon Airstar Gaffair 1200, Elipse 4000, PAD 9ft x 9ft, Tube 16K If any of the administrators of this forum wish to try out our app, we would be happy to give them one or several free life-time activation codes. For all the other users, our app is available on the Apple Store (). An Android release is planned. If you have questions or requests, don’t hesitate to contact us at this address predilux@wid.la Thanks for reading this post and we hope you thought it was interesting, Georges Harnack for the Predilux Team
  2. I will be doing a shoot in jungle. I want to know how can I control the day outdoor light. The weather condition around here is sometimes rainy and hard sunlight. I want to do various scene in different lighting, so please help on how I can create the different lighting scene 1. diffused lighting on character and the surrounding trees. 2. hard side light to fall in character face. 3. using top sun light for a day murder scene. ( i want to use a lot of highlight in the scene, how it would be as using top sun light? and what precaution are required ) Kindly help me with what hmi, or solars i can use and how to use it I want to have a bit of contrast between the character and background ( i want the character to be 1 stop up and the surrounding to be 1 stop down )
  3. Hello, When you are metering a scene, do you meter for the camera's dynamic range, or for the 6 stops in SDR or the 13+ stops in HDR? For instance, if your camera has 6 stops of highlight dynamic range, and 8 stops of shadow dynamic range, do you keep everything in your scene between those 14 stops or do you keep everything in between the lets say 6 stops of standard dynamic range? I hope this question makes sense! Thanks in advanced to anyone who can help! - Matt
  4. hi everybody! i'm Marco, dop from italy. i'm going to shoot a short movie set in 1840: night, indoor, one big room. One of the options (due to logistic and creative choices) is to light up the set only with the candles. we'll use an alexa mini and i'm looking for the best lenses at full aperture (1.4T, i think), so possibly with less aberration, softness, low contrast... in this interview, Gavin Finney explains advantages and disavantages of shooting in canldelight in 2015. i really love is work and i found out that they shoot with Leica Summilux-C. Onestly, i don't know if we can afford them, so i'm looking for something slightly cheaper (between 500-1000 $/€ daily) i tried the Zeiss Super Speed MarkIII, very very cheap, nice and "vintage", but i find them terrible at T1.3. Can anybody help me? thankyou! M
  5. Hi Guys, How they made this effect, should be a spot light but as it has so much power and the line is quite clear. Can you help me ? Thanks
  6. Hey everyone! If you have a spare moment, check out this 2min film I shot called ‘Land of Steel’ Shot in Port Talbot late last year 🏴󠁧󠁢󠁷󠁬󠁳󠁿👍 With Blade Runner (1982), Ridley Scott drew his vision of the future from this surreal and vast location. LAND OF STEEL https://vimeo.com/260825061 Supported by Michael Sheen - https://goo.gl/6zwXFF Thank you very much hope you enjoy! ✌️ Lee
  7. Hi all, I was recently introduced to the wide range of image profile (dynamic range) options on industry cameras. I understand that a low dynamic range gives you less tonal range and high gives you higher, but under what circumstances would you want a lower dynamic range versus higher? I was also told that you have to be an experienced colour grader to shoot high dynamic range, can anyone shed light on this? Thanks.
  8. Hello! As a very little experienced cinematographer, I have been hired to work on a very small budget short movie. It will take place in the countryside at a bus stop next to the road during the night. I talked with the director about the look and tone of the lighting and we agreed to go for a specific look. The bus stop will be lit using something like one or two Kino Flo 2 bank located at the top (like this scene from the TV series 'Dark'). For the rest of the shots where the two characters will not be in the bus stop, I want to create the kind of look we can find in the photography of Bill Henson, specially where the characters are lit directly and where the key and fill lights have two opposite temperatures (the key is warm and the fill pretty cold) like this shot. So I was thinking of mixing two different lights one 5600k and one 3200k or getting two 3200k and using a CTB on one of them and rate the camera in-between. Or maybe using a LED litepanel if it can be cheaper. Am I on the good track ? All the best, G.
  9. Hi everyone I am Mohamed From Cairo and my question is about light equipment for women shoes shoot lighting setup. I have frequent women shoes photography sessions, I need light setup equipment that i can use it frequently and easily any recommendations ? best regards Mohamed El-Fallal Thanks
  10. What is the downside to using an incident light meter to set my exposure for video? I've been doing it for about a month and it has been working well for me so far; but I'm a rookie—those of you with much more experience—what can go wrong in video when measuring light with an incident meter rather than using the various camera exposure tools? I'm mainly concerned with ensuring that faces look the same from shot to shot. The problem I'm trying to solve is that my style generally includes a fair bit of back and edge lighting which often freaks out the waveform monitor, the RGB parade, and the histogram so I have been getting inconsistent brightness levels. Using a light meter is also quicker because I can adjust lights and get a reading immediately rather than running back and forth to the monitor to see what has changed.
  11. Hey all, This has been a question I've had for a while. Are there a specific type of globe/light source that is commonly used to replace practical bulbs? I.e. If you're trying to reach a certain exposure, and want to use practicals, where could one find an assortment of different globes to reach a certain light level? Thanks!
  12. Hey guys, so I have a shoot that requires a shot at the bottom of the ocean. I wont have access to a tank but I may have access to an aquarium (a very big one lol) I can easily make it pass for ocean. however! ive never shot similar and im wondering what lighting ill need to replicate a bit of sun coming through the water in the lower angle shots. the aquarium is 11m deep. Is there a rule for falloff in water? thanks ! K
  13. Hello, any idea of how to light this bedroom night scene!? 1- large window behind actors that will be visible in the wide shot as background. 2- smaller windows on each side but right right side will be used and will be seen. ps: it is raining outside. director wants it lit naturally from outside Very light bluish white with a practical lamp on the left side of the bed but i am worried that the window is exactly behind them. i have a distance of 15feet outside of the window. shooting with red scarlet mx, 800 ASA. Rokinon Lenses. Attached is the location. and 2 references, ( lost in translation , minority report) Not as blue as minority report.
  14. Hi everybody, I have a big doubt about White balance. I know how it works with the tungsten light, fluorescent or HMI but my question is: what WB I have to setting in camera if I have colored light (with gels) as key light? what is the best setting to maintain a good skin tones? For example, in the picture below.. (lighting with kinoflo + pink gel) Thank you so much for your help
  15. Hello everyone! I'm back on this Forum with another question! Hopefully some of you will be able to help me out, it'll possibly seem like a very simple thing to do but I have no idea how to! I'm about to shoot a trailer next month and I got shots that takes place at night, a character is standing a few feet away from a long fire line, and I'd like the entire scene to be lit by the fire light, the thing is, I doubt the actual fire will be enough to lit the character as much as I'd like to, he'll be a bit too far from the fire. Any idea of how I could simulate the light of flames? Thanks a lot in advance guys! This would save my a** ! A very nice day to all of you day! :)
  16. Hi All! As a student, each projects means a way to stretch myself further. If I'm not trying something new (or a little bit scared) on a project then I feel like I'm not taking steps forward. Lately I've been doing pretty in-depth floor plans and 2D pre-vis, and it has been working wonders for every project. However, I'm still working to get exactly what I want in my head to paper, so that on set my images are not a surprise. Is there a way I can tell how many foot-candles a certain light will output? I'm wanting to essentially know exactly how powerful a light I'll need to expose to a pre-determined f-stop. I'm familiarizing myself with inverse square law, so all I'd need is an output at any one distance and could work from there. Is this just a knowledge gained from experience? Or is there a practical way to determine output? Thanks, Jake Mitchell
  17. Hi everyone. I'm looking for advice on lighting interviews with a tiny crew (2-3 people) out at sea on a small 30-40ft boats. I'm frequently booked on these gigs but I find that 99% of the time I never dig the look of the interviews. It's always a matter of finding what looks the least bad. For most EXTs (on land) I'll backlight and try to shoot into a BG that's in the shadows...but of course on a boat there aren't any shadowed BG's, except maybe a tiny part of the deck. Most times we end up settling for front lighting the subject and holding a foldable silk to diffuse the light a bit, but even then the BG is well over key. At least that way the talent and BG are both reading okay to camera. It also doesn't help that typically the entire boat is painted a hot white and constantly rotating in relation to the sun because of heavy winds. Sometimes I shoot up in the pilothouse but that's proved the most difficult- even after ND'ing the windows I can't get nearly enough level on talent without blinding them. Are there any general best practices for this type of lighting?
  18. https://www.youtube.com/watch?v=olwYxXWHBz8 This is a scene from Peaky Blinders and I'm interested to find out what lighting techniques they have used to achieve this look and possibly what equipment and practicals have been put in place for the contrast lighting shown. Did they use a haze machine?
  19. Hi Everyone, I'm moving to South America in May and the time has come for me to purge items I simply can't take with me and/or never use. I'm sure many of you know this is painful. But there is no sense in me keeping these items in storage. I've tried to price them as low as I can to get rid of them quickly. There is some wiggle room for some of the more expensive items. Deals can be made if buying several items. I use Stripe for payments which accepts most credit cards. I do have some of these items on Etsy as well for those who feel more comfortable using it to pay. $900: First thing I'd like to see go to a good home is my Arriflex 16SR. I bought it to shoot a film noir but couldn't raise the budget and can't take it with me so it's for sale. It works fine and it works great with the blimp below. I bought this used from a dealer. The viewfinder is clear with no yellowing. The camera runs smoothly. This camera package comes with: 1 - Arriflex SR16 16mm motion picture camera 1- Eyepiece with eye cup 2 - 400' cartridges 1 - Battery Adapter 1 - Power cable 1 - Power adapter for plugging the camera into an outlet NO LENSES ARE INCLUDED. $900: If you have an Arriflex 16SR, you'll love this awesome sound blimp! You can't hear the motor at all once your Arriflex is in this beast. This item may possibly have to ship via Amtrak for the best shipping price. I shipped a Tuba that way and it only cost about $60 so I would imagine this would be cheaper. It's extremely heavy so you'll have to use it on a heavy duty tripod (I have some of them for sale too). When the camera is inside, you plug in the wires and you are able to completely control the camera from the buttons on the outside of the blimp. $600: Custom Bolex Rex 4 Sound Blimp. - Rare blimp but can't take it with me. It makes the Rex 4 ultra silent indeed. It's really heavy so it may be beneficial to ship via Amtrak. $400: Tobin Crystal Sync Motor for Bolexes - I only used this motor once on my Bolex Rex 5 and it works great! $80: Canon 514 xl-s with Case and Microphone - This camera comes with the original case (see condition in photo) and the original microphone. NOTE: Although this is a sound camera, sound film for this camera is no longer available. You can use this camera with modern Super8 films. With batteries inserted, the motor runs smoothly and the battery check works. This camera is untested with film and is being sold as-is.
  20. Here’s another list! http://www.ilovefilmmaking.com/beautiful-movie-shots/ Sometimes they’re fun. :) I thought it might be interesting to post it here.
  21. Hello group, Just got my Sekonic L 398 A. The classic external light meter. I am browsing the web for weeks on external light metering and all I see is people measuring the incidental light with the white dome, pointing at the camera (hmmm....). That's all fine but I couldn't find anything about different methods - for example: landscapes, complex lighting with fill lights/reflectors, back lights, sunsets, beach scenes during sun set with complex lighting (light bouncing off the rocks, people moving, sun just out of the frame, etc.). Way too much "information" about staged, posed or studio situations in stills photography (a lot of it seems dead wrong BTW!) and way too few about cinematography where things are moving and one needs to decide what is the most important area (or find a good average exposure - I know: on neg film blown highlights are not as bad as crushed shadows, reversal is unforgiving on both sides....). I won't use the camera's internal meter at all (which will be way off anyway). So how do I measure the incoming (reflected) light and use some common sense (such as making up a stop or two for the sun, snow, exterior light coming through windows, the usual drill...). Do I hold the light meter with the white disc (instead of the dome) in front of my lens - to emulate an internal meter? Do I screw on the grid which also comes with the light meter? Any input where to get reliable and comprehensive/complete information (I'll study and learn - and practice, but obviously not right away on expensive, rare film stock, waiting for it to return!) highly appreciated. Christian
  22. Hi everybody, sorry for my bad english but I'm italian guy, I hope you understand. I have some questions on these two reference I have an my idea but I would to be sure and I ask for your experience. Frame 01 What kind and how many lights should I use for this shot? How I can do that "cyan effect" on background? What is the best white balance setting in camera? Frame 02 How many lights should I use for this shot? In your opinion, there is a "real flare" or it is made in post-production? Thanks a lot F.
  23. Hello Cinema Community! I have a music video client who would like psychedelic images in her music video: Options include fractals, light prism effects, kaleidoscopic imagery etc. I am curious, is anyone aware of practical solutions to achieving an end result similar to what I listed above? I realize that I could achieve much of this via a program like After Effects; however, I am curious if doing something like this practically would produce something more organic. If anyone has any experience with this, it would be great to know what methods you used, in addition to seeing visual references of the end result. Lastly, this project is on a shoe string budget!
  24. In most of my filmmaking experience I've always just used natural light or whatever lights happen to be nearby when on a certain location such as a lamp or whatever. I want to screw around more with different types of lighting but I have a question. Let's say I buy a light that is strictly for filmmaking or photography and I use that in a scene. But, there is natural sun light shining in through the window. Can I use two different types of a light in a scene? Would it affect it somehow?
  25. LONDON (Nov. 13, 2015) – Panalux, the leading provider of lighting rental equipment for film, television, and media production, will display their latest LED lighting at the 23rd edition of Camerimage, the international festival of the art of cinematography, being held November 14-21, in Bydgoszcz, Poland. Together with Panavision and Lee Filters, Panalux will showcase their popular, proprietary products, including the HiLo, Tektile2, NessLED kit, and a soon-to-be-released spring ball light. Also on display will be the new Panalux LED Flex Light, an extremely versatile light that offers a variety of possibilities and configurations and has proven to be extremely popular with gaffers. Additionally, Panalux will support the Panavision Cinematography Workshop on November 19 by providing various Panalux lighting equipment to Markus Förderer, Eduard Grau, AEC and Ellen Kuras, ASC, who are shooting scenes to compare spherical, anamorphic and larger sensor formats. For more information, visit www.panalux.biz
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