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Found 316 results

  1. Hey all! I'm doing a showreel shoot this August, and it will probably be really sunny and have a out door location coming up. Due to the limited budget and power available, the biggest light i can get is a off brand 2.5k HMI and a home made 6by diffusion from shower curtain. I was wonder if these are enough to make a impact? My indie rental house didn't tell me which model of HMI we are getting, but it's safe to assume it won't be as effective as the Arris (maybe matching output of M18 idf we're lucky) . I'm not diffusion the light, maybe a 1/4 or 1/8 cto max for some scenes. Any input will be appreciated as always. Jing
  2. Hi everyone! So I am doing a music video in a couple of days. 2 particular scenes I wanted to fill the background with Maxi Brute lights using them as practicals behind our band members (to resemble stage/star lighting). My location is a hotel and after speaking with the electricians there they have assured me they have enough power to run 2 of these lights off their main electrical room (the light is 3 phase and 62 amp I believe which has been giving the okay by the electricians at the hotel). I want these lights specifically to be used as practicals for when the band member walks on stage and we see these in frame lighting him from behind. Is there any other light that looks like the maxi brutes that I can use in the frame behind the performer? Or shall I continue down this route using these lights? Any suggestions would be appreciated or advice on these lights. Thanks! (P.S. This is the look I was thinking of)
  3. Hey everybody, I have a short film shoot coming up soon that's becoming quite a challenge. I've attached a rough floor plan for reference. Hopefully, soon I'll be able to go in and get actual measurements of the room. Basically, the scene is about a couple in their bedroom at night. The director wants a warm, somewhat dim look. The scene from Sicario when Jon Bernthal's character attacks Emily Blunt comes to mind, though far less of a silhouette. We'll be doing some tests later this week and possibly rearranging some furniture, but this is what I know so far: The scene must be done in one continuous take, meaning I will have to follow the actors as they move around the room from the vantage point of the camera near the corner. At various times throughout the scene, the actors will need to be at the mirror, the closet (it's a long closet with sliding doors. I'll be getting a profile shot of one of the actors looking into it at the spot I currently have them pictured at here), and going out into the hallway. With so much of the room being shot, and with the room being fairly cramped, I'm very worried about how I'm going to be able to light it and yet still manage to hide everything from the camera. My current idea is to rig up a wall spreader with two diffused lights (I'm thinking two 420w Peppers) aimed in the direction of my actors to imitate the glow of the lamps behind them. Then I'll set up a light in the closet to provide a little bit of fill, thus suggesting another practical source within the closet, but I'm honestly not sure how good this will look, hence why I'm planning to do some tests later this week. I feel like this is going to be pretty challenging, so I'd be very thankful to hear whatever thoughts or advice you guys might have.
  4. Hi Does anyone know a more affordable version of the 2 tube holder with baby pin that you can use with quasars? https://modernstudio.com/products/dual-fluorescent-lamp-holder-with-5-8-pin Have been searching everywhere but can't seem to find anything below $55. Any help would be greatly appreciated, thanks!
  5. Hello. Film student here, looking for some advice. I've got a scene coming up that I want to set at sunset, but not wanting to confine my shoot to an hour a day I'm hoping to replicate that time of day instead. There are two locations to be lit like this, both interiors with windows and white walls. The way I'm thinking of pulling this is by shooting a HMI (at least 1.8 K, but could go higher) and relying on bounce from the walls to give more interior light, then cheating in a silk or bounce for fill lights in tighter shots while using the "sunlight" as key light. also flagging and neg-fill where needed. Either gelling the HMI or grading for the sunset color. Will that bounce be enough to fill the space and brighten up all the non-wide shots? Does it sound like it'll be a convincing replacement? Is grading the color in at all wise, or should I go to lengths to color the light on-set? Any help and advice is much appreciated!
  6. OP is the question, although I also am wondering if these drop ceilings in the attached picture work with scissor clamps? I can't tell if the gap/space down the line is just cosmetic or functional, and these pictures are being sent to me.
  7. Hi everyone, thanks for looking through and the advice ahead of time. I have a shoot fast approaching and I'm debating the best way to light my exterior scene for an upcoming commercial. We will begin shooting early morning and we will see a family enter an amusement park from one angle where the sun is backlighting them - and then we will need to reverse the camera to see their POV. It will be a very sunny day I'm sure with no clouds so we should get some nice backlight. I'm debating however whether to front lit with a large ultra bounce (20x20 or 12x12) using the sun to light the family of 4 as they walk in (Wide - Full shot of family - then MID CU of each member). OR if I should also blast some M40s/M90's into the ultra bounce OR light them using 2 of these lights with diffusion frames or softboxes over them. The location has access to 63 amp power so we could run cables to take this power. I want a high key commercial look but want to go down the wisest route here. I have attached a sketch (actual location) in order to get a better idea.... I also plan to use a Job at the back of the family at the end of the street for an establishing shot... Also after I get this I will have to move the camera around facing a street of performers so they will all be front lit by the sun. I could film this first in order to get a more pleasant look with the sun being lower (Maybe use the Frames with Diffusion in case of any camera shadow if need be) and then film the family. Reference Picture attached... Any thoughts you may have on this or experience with similar setups would be super. Cheers all!
  8. BB&S Area 48 LED Light https://www.bbslighting.com/collections/area-48-studio-led/products/copy-of-area-48-studio-led-fixture-with-remote-phosphor-panels https://www.bbslighting.com/collections/area-48-studio-led/products/area-48-soft-high-cri-media-3200k Comes with.. v mount adapter 5600 and 3200 interchangeable panel ac adapter dual light soft case cstand mount snapgrid 40 degree snapbag $800 contact me for photos
  9. I have two lights with bulbs that need replacing, but these are halogen lights that kind of intimidate me still. One of the lights is a PBL MXLIGHT with two long skinny halogen bulbs, The other is a Britek. I took the bulb out of the Britek and it says "500 watt 120 volt" on the side, but no brand name. So two questions: Will any halogen with the correct watts and voltage work with a halogen light And: If i use a lower voltage and wattage, will it work but not be as bright? I don't want anything to explode in my face here. I found the website 1000 bulbs but I don't want to buy without confidence. Most videos i'm finding online are for LED's which I neither own nor am a fan of.
  10. Hello, Was wondering if any of you ever used a Skypanel S60 with an Anton bauer Cine VCLX block battery? I know battery voltage of Cine VCLX has max 28v (3pin XLR) which reduces light output from S60. My question is mainly regarding cabling in order to power the Skypanel on this type of battery. Arri don't seem to have/sell a cable or adapter from Battery input on the head 23-36V DC (4 pin XLR) to 28V (3 pin XLR) output on the Cine VCLX. Do you, in that case, DIY the cable? In which case, what recommendations do you have for AWG of cabling, max length and/or other useful information regarding wiring specs would you have for me? Thank you!
  11. As a DP, how do you communicate your orders to your team on set? (e.g. Light ratios, light modifications, rigging)
  12. Hello everyone, My name is Tayyib Mahmood and I am a film student from Birmingham City University (UK). I am in my final year and currently writing a dissertation on LED and Tungsten Lighting. Now the question I have is for all DoPs, directors, gaffers etc. I would like to hold a Skype interview or even email to document your opinions about LED and Tungsten lighting. Is Tungsten lighting becoming finite and are LED lights taking over the film industry? Is there a reason why Tungsten lighting is the predominant force in the film industry today? What issues do filmmakers have with LED regarding CRI, the look etc. If anyone can get back to me, I would really appreciate it.
  13. Harris-Chewning, Inc. is a production rental company in North Carolina with many years of service and dependability. We rent LED, Kinoflo, HMI and tungsten Lighting. Grip trucks from 1 ton to 4 ton. Cameras and support gear: Arri, Sony cameras, Alura, Zeiss lenses, monitors, etc. Harris-Chewning, Inc. 148 Stancell Drive Chapel Hill, NC 27516 919 942-7997 http://www.harris-chewning.com
  14. Does anyone have metrics on the photoflex starlite or chimera triolet 1k's? I've used the triolet once, a few years ago and was wondering how the output compares to using Mole or Arri open face pars with the same modifier. Since they have much larger globes and are made specifically to use with softboxes I would think they have more punch. Also, the photoflex starlites use the same globes as the triolet so I would assume they have the same output. Photoflex has an interesting speedring that fits 4 starlites into 1 softbox, effectively making a cheap barger like setup. The lamps go for about 50 bucks used, so you could potentially have a 4k soft light that can be run on household power. Anyone tried or seen this?? Side note : I know tungsten is not in style but a lot of productions are still using it 🙂
  15. I'm shooting a short narrative that involves several scenes of two people talking at interior doorways. I've attached photos below to give you a sense of the framing as well as photos of our actual location. Our lighting package includes a couple aladdin LEDs, a leko and a skypanel s-60. My plan is to use the aladdin's to key the man from camera left and possibly tape a bounce to the door to get a little return on his fill side. I'm unsure if that plan will work due to the tight space and won't be able to scout this location in person until the day before our shoot next week. Do you guys have any advice/better ideas on how to light these characters in the doorway? Concerns: We will be cutting on the action of opening the door so hanging something overhead in the doorframe doesn't seem possible since we will have to capture the action of the door opening. That is why I'm thinking keying from the side might be better. Limited on space (see photos below). I'm worried about sneaking lights too close and making it feel too sourcey. Any advice would be much appreciated, thank you!
  16. Hi, I am planning on shooting a short film on my Bolex B8. It takes double run 8mm film. I want to shoot in black and white (film stock I can find for my camera includes Fomapan reversal 100, Fomapan negative 100, and Fomapan negative T200). I am relatively new to shooting on 8mm and I was wondering if anyone had any tips for me, especially in regards to the best way to light for B/W 8mm? I hope to get as sharp an image possible, I understand that shooting at a higher aperture will help, and that using newer lenses will also help (although I do not plan on purchasing new lenses). I love high contrast images but I am not sure how well I will be able to achieve this with 8mm. Is there anything in particular I should keep in mind when I am lighting? Is one of the film stocks I mentioned better to use than the others? Any advice will be greatly appreciated! Thank you!
  17. Hello! I am new to this forum and this is my first post B) I have attached the pictures of the room below following my explanation! I would like to achieve a nice glow with an obvious gradient to the falloff and some sun beams in the following room while the 2 talents walk through in 50 fps. I will time it to shoot as the sun goes down and fills the room with sharp shadows and golden light patches. So I believe but please correct me if I'm wrong... If the camera is facing 12 o clock from picture 1, the sun will be at 7 o clock so behind the camera, I'm hoping in this scene to get a nice soft ambient glow with falloff at least filling the room. Then for picture 2, the sun will be at 2 o clock which is a good angle for rays, I will put some covering on parts of the window for some rays and again I'm hoping to get a soft glow with falloff, similar to picture 3. I also have 3x arri 1k fresnel tungsten lights with barn doors and was thinking I may use it for a soft light on the talent before they hit the rays. Gelled for daylight through a light diffuse for a moment of natural colour. What do you think and how would you do it differently if you only had my lighting setup and the sun to play with? Image/angle 1 Angle 2 (the shadows were lifted a lot, it will be similar brightness to picture 1 Picture 3 (if I can get a soft glow like this I will be happy)
  18. Hey everyone, This is my first real post on this forum so bare with me. I've come here for a few years when I have questions but have always found the answers without needing to make an account. Anyways... Like some of you guys, I bought into the hype around the Aputure 300d about a year ago. I own and operate a lighting rental company here in Phoenix and the promise that this LED could potentially replace some of the smaller HMI's we generally use was enticing. Not long after using the fixture for the first time, a huge design fault became apparent, as I'm sure it became apparent to a lot of others. So I decided to do something about it. After a few sketches on the back of a call sheet and a few hours in Solidworks, I came up with a pretty decent work around. The issue that faces this fixture, as well as a lot of other LED's is the shear amount of junk you end up hanging off the bottom knuckle of a stand. The bracket I designed helps to tidy up the cable management as well as keeps the components close so they can clamp to a stand via a mafer clamp. After getting my first prototype back from the machine shop, I was finally able to release the kickstarter with an effort to pre-sell a decent amount of them, with my goal being what the machine shops minimum order quantity was. We surpassed our goal within the first 48 hours. So I'm sharing the project with you guys to try and broaden our reach. Thanks for checking it out. https://www.kickstarter.com/projects/thundergrip/thunder-grip-aputure-300d-dimmer-bracket?ref=creat
  19. Hey all... I'm shooting a film and we have a few scenes that incorporate a taser being used as a weapon in the story. I'm shooting with a Panasonic EVA1, not sure if there are any in camera solutions to avoid stroboscopic issues...? I would love to maybe see the taser in close up at least being triggered. If not, then maybe I can stage the action for the taser to be triggered hidden from camera, in that case what lighting gags can I do to sell as a taser? My gaffer suggested 2 things for off screen gags... using those small finger glove lights used at raves and/or getting blue maybe even purple coloured bracelet beads from a hobby shop and having them shift around over a flashlight. Is there a better alternative for creating a compact and caustic lighting effect?
  20. I'll be shooting a short hopefully this autumn or winter. It takes place in a forest and I want to shoot it in natural light. But because of the weather these upcoming months, I've started to wonder if I'm actually able to do so. For so far, I'll be using my only lens, a zoom lens which its widest aperture is f 3.8. And a 0.6 ND filter, because I love the DOF touch it gives. I'll be shooting on Vision 3 7222. What can I do to avoid using a lighting setup?
  21. Hi All, I'm shooting a TVC on Sony Venice next week, and have been looking for Sekonic / X-Rite exposure charts for S-log3.cine, preferably in both Native ISO's so that I can load the data into my Sekonic L758-Cine light meter. Does anyone have any good sources for this? Cheers, Lewis Jelley Cinematographer T: +44 (0)2920 251 255 M: +44 (0)7929 174 457 13 Mount Stuart Square, Cardiff, CF10 5EE http://stormandshelter.com Lewis Jelley Cinematographer T: +44 (0)2920 251 255 M: +44 (0)7929 174 457 13 Mount Stuart Square, Cardiff, CF10 5EE http://stormandshelter.com
  22. Hi all, Just a quick note to spread the word about our new student program. Hudson Spider is dedicated to helping student film makers enjoy and thrive with their new craft. We have set aside several kits that include three Redback heads, a Stealth unit, DMX control and a quick lesson on how to use them. This program allows students access to the exact same state of the art lighting equipment being used on the largest film productions worldwide. The Redback is a revolutionary new LED light from Hudson Spider the emits an embracing specular soft wrap from a parabola of 3456 LEDs. It is quickly and easily deployed into either a 3ft parabolic, 6ft soft box or 3ft lantern modes and folds down to 7.5 x 13 inches and weighs only 7lbs. (www.hudsonspider.com) The quality of light is similar to HMI, Tungsten or flash umbrella bounce light fixtures and is typically used as the key light. The kits are are available for 1 week blocks and are free of charge. Apply as soon as you can because the dates are booking up fast!! https://www.hudsonspider.com/edu
  23. Have to shoot a short little scene of a character brushing teeth, washing his face, going thru normal night routine. Suggestions on how to light this so it resembles Fincher's cinematic world a little bit? The greenish yellow tint that alot of his films have? I'm shooting 2.21 aspect ratio but the practicals might end up in a wide shot. From outside the bathroom, I think I might have a tungsten kino from the ceiling that can give a slight dirty orange/yellow glow onto the bathroom door, and then I'd like to make the bathroom interior have more of a greenish tint. I'm sure negative fill might be my best friend in this bathroom. At my disposal, I have a Joker 800,4 ft Kino tubes, 1x1 Westcott Flex light, Quasar T12 tubes, and some smaller LED lights. And flags, a couple different diffusions, etc.. Any suggestions?
  24. I'm working on a short film and the main location is a forest, at night. Most of it is set on a muddy road with trees surrounding either side, but there is a little section where our main character is running through the trees. My question is in regards to lighting, and what is the suggested method of lighting for this type of location? On previous projects, we have blasted 4 x 2Ks through the trees from a distance and used a smoke/fog machine for different looks and to help spread the light. We also used smaller lights for tighter shots, but I have found that this can often lead to quite harsh lighting and create ugly shadows. This setup has allowed for some great shots, but I'm wondering what other options there are? I have read a few other threads which suggested lighting a background road or something to give the shot some depth, but also have read that using paper lanterns up in the trees can provide great soft lighting. The only problem then is wind! Would love to hear some suggestions! Will likely be shooting on the BMPCC. Thanks! :)
  25. Hey all, I'm fairly new to grip work so I'm a bit stumped by this. So I'll be shooting this scene involving 3 subjects, all of which are situated behind a table with a black backdrop behind all of them to act as a background. It's just going to be the one wide shot, so the camera will be positioned dead centre in the middle of all of them. I've attached a photo complete with my expert illustration skills showing the placement of the subjects in the scene. So I'm looking for a lighting solution that can efficiently light all of them using as few lights as possible. The overall look will be fairly high-key, with a light on the backdrop so it won't look like a black hole behind them. My existing kit consists on 2x Nanguang Luxpad43 LED Panels, and I have the go-ahead to rent any additional lights I need (within reasonable cost, of course) I'm torn between two possible setups: 1. A large diffused soft key in the centre that casts on all the subjects, with one light at camera right near the backdrop to act as fill for Subject 1 and backlight for Subjects 2 and 3, and one light at camera left near the backdrop to act as fill for Subjects 2 and 3 and backlight for Subject 1. Finally, 1 additional light for the backdrop as described earlier. This is the cheaper solution; I'm guessing the centre key will eliminate the need for a backdrop light but I will have other scenes that make use of the backdrop light so I'm just thinking about continuity here. 2. Similar to above, but with 1 diffused key light at camera left for Subjects 2 and 3, and 1 diffused key light at camera right for Subject 1. The fill/back lights stay the same as with the above option, together with an additional light for the backdrop. This is the more expensive option, but I'm worried about the spill from the key lights onto the backdrop as the backdrop will be situated fairly close to the subjects. That and they might mess with the lighting from the backdrop light too. The obvious solution would be to get LED Panels with built-in barndoors; I'm just wondering if this would be the more reasonable route to take. The kit I'm looking to rent is a set of 3 Coolcam 1' x 1' Bi-Color LED Panels with barndoors, failing which I might get a set of 3 Litepanel Caliber 150W LED Fresnels or Aputure LS-mini20s. I might have the luxury of additional stands and flags but I'm trying to keep the set-up lean, and I'm already running on a tight budget as it is. Also, I'm a one-man Cam Op/Grip/Director/Producer with no extra pair of hands available (ridiculous I know). Any help would be appreciated!
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