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  1. What the title says. I was reading interviews on the behind the scenes of nomadland and the cinematographer, Joshua James Richards said he used natural light most of the time but brought in lights like litemats when needed, which in the context of an expansive freeflowing style such as Richards, how do you make that work? Where would the light come in? How do you make it work with natural light? I know some cinematographers like Fraser or lubezki feel you can't as they've expressed in interviews and that's why within their work they prefer to shape the natural light whenever they can. But another I wonder with using litemats to supplement natural light is because of how bright the sun is, wouldn't you need powerful lights to match that? Litemats are efficient but I wouldn't say they're particularly powerful, how do you make that work?
  2. 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
  3. Complete used portable 60amp AC Power Generator/Distribution Package. System originally purchased from Screenlight & Grip, Watertown, MA. 60 amps of 120v AC power is available where ever you want it up to 300 feet away from the generator. Can be expanded with more splitters and receptacle boxes. Entire system can fit in a pickup, van or on small trailer. More photos available on request. Package contents: 1 - Honda EU6500is Inverter Generator (used) in Excellent Condition. 1 - 60A Full Power Stepdown Transformer/Distro w/dolly. Takes 250v/30amp generator output & converts to 125v/60amp AC. Transformer upgrade allows voltage boost up to 10% for long cable runs. 3 direct 120v/20amp outlets installed on transformer. 2 - 250 volt adapter cables for connection of Generator or any 250v home power receptacle to stepdown transformer. 1 - 100' 250V 30A Twist-lock Extension cable. 2 - 50' 250V 30A Twist-lock Extension cable. 2 - 50' 6/3 60amp GPC Extension cable. 2 - 60amp GPC Male to 2x Female power splitter. 1 - 60amp Snack Box (Box w/6x 120v AC receptacles, w/Circuit Breakers). 1 - 20amp Snack Box (Box w/4x 120v AC receptacles, w/Circuit Breaker). Bins for all cables, whips and boxes included. Will NOT split package: if you don't want it all don't reply. $4,800 or best offer + shipping and PayPal fees. Low ballers ignored. You can pickup or will need to ship palletized as LTL freight from Beaumont, Tx. Can palletize and strap load.
  4. Hi everyone, I have an upcoming shoot in Malaysia, pretty near to the equator so the sun is mostly high and bright in the sky and I am thinking of ways how to control the sun without fighting with it. I have a scene where I have an air-well (hole in the ceiling) that allows sun light to come straight down, but I would like to be able to control the angle of the light falling on to the set. Do you think its possible to do this with 2 4x4 mirrors so that I can take advantage of the sunlight throughout the whole day and control its direction coming on to the set? I have done bellow a small crude plan of what I mean. Theoretically I guess it makes sense but practically I have no idea if it will, has anyone tried something like this before and did it work? In the plan bellow I have numbered 2 diffrent set-ups: 1) If we have nice direct sun light and no clouds. 2) If the day is cloudy and there is no direct sunlight. The plan bellow is not up to scale the height between the air-well and the subjects is probably 20ft. This is the effect I am hoping to achieve with the 2 mirrors. P.S We are planing on building our own 4x4 mirrors any tips would be much appreciated as I really haven't worked with mirrors that much. Thanks a lot! Boris
  5. 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
  6. 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 share ! Thanks
  7. Dear All, I have been wondering and testing how light stacks and its correlation to light fall off. The term 'stack' is most likely wrong, what I mean by it is when two beams of light overlap does the luminance value say foot candles in this instance add up? It makes sense as for example a maxi brute or other Fays that have several lower wattage lamps such as 1k's or 650's add up to produce a larger output. So for instance if I had several Par64 cans and rigged them in an array in which the distance between fixtures was minimal the total output would be the addition of all the outputs of the par cans combined? However I question this further (reference diagram bellow) in which then if you bounced several sources into the same area of say a frame of ultrabounce. If the beams overlapped would they add together create a more powerful source with therefore less fall off. Putting terms into words is not my strong suit so I have drawn a crude diagram bellow. The tests I have created had mixed results and while practical is good and something I shall test further for a future rig the theory behind it interests me greatly! Please do note nothing on this diagram is accurate from the refraction etc to anything. Just a crude idea.
  8. Hey there everyone! I am a colombian film student and wannabe cinematographer and I am looking for some advise for an upcoming short film me and some classmates are preparing. So I am going to be the DP for this short and in terms of lightning I am looking to have an aesthetic close to the images I attached below for the interior daylight scenes. Logic tells me that to achieve this I should have some strong key lights motivated from the windows on the characters and expose to those bright areas of the face, so everything else will be darker to achieve that high contrast ratio. We´ll probably have like 2 or 3 arri 1000 and maybe like 6 arri 650, it really depends on what the faculty will have available at the time and the budget that production will give us (which will be very, very low). So really I want to have a realistic view of our lightning capabilities with such few lights, can I achieve this look with the lights that are available? If so, what tips can you guys give me to achieve it on an extremely low budget? One of our likely sets is a house with really big windows, so one of the strategies I came up with is partially blocking some windows to control and limit the entrance of light (because it may be too much and spreading everywhere). Am I thinking about this the right way or am I completely off? Thanks in advance!
  9. Hello, I just got an order of Litemats Spectrum 1 and 2. I also got a single gold mount battery plate to PL4 to power those litemats on Battery. My question is: How would you power such a light off a gold mount battery? What would be the minimum requirements of that battery to be able to turn on the light? I know it is possible since the accessory is sold by Litegear themselves in order to power the Litemat 1 and 2 Spectrum via a single Gold-mount battery... I'm asking since I tried using a 160WH 14.8v and the light won't turn on. (I would use those batteries to successfully power the Litemat 1 & 2 bicolor PLUS versions) Here are the litedimmer spectrum specs: (I feel like it's missing output current info. AKA: Amperage required for the light to work) SPECIFICATIONS (IMPERIAL/METRIC) POWER RATING: 200W Nominal VOLTAGE INPUT*(BATTERY): 10~35VDC (PL4 Connector) 14.4 VDC Nominal (One Battery) For LED Loads up to 100W LINK FOR THE DIMMER AND LIGHT Document center: https://www.litegear.com/document-center/ (Find Litedimmer Spectrum user guide) Thank you for your help!
  10. Hello everyone! As jobs get bigger, the need for a floorplan software gets bigger. What kind of software are you using? And on which platform are you working?
  11. Hi! I'm studying cinematography in Spain and I'm gonna be DoP in a school short film. I have to design a lighting for a dance sequence with a couple dancing slowly together. It's gonna be shot in studio, we have multiple tungsten about 1KW, 2KW, also Velvet light panels, fresnel HMI 1KW, 2KW. One requirement is that it must be a theatrical light. I have thought about hanging lights on the characters, adding smoke, and coloring the backgrounds with jellies. There is also the possibility of getting light through a false window. I wold like to incorporate neon lights, led strips, or something like that in the background. Do you have any purpose to design the lighting for that? Thanks in advance!
  12. 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 )
  13. 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
  14. 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
  15. 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
  16. 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
  17. 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.
  18. 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.
  19. 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
  20. 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.
  21. 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!
  22. 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
  23. 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.
  24. 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
  25. 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! :)
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