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Found 343 results

  1. Hey everyone! I'm looking to light an exterior night scene in the woods, and really want that unrealistic powerful back moonlight look. All of my actors will be keyed by their own lanterns, but I just want to have that moonlight in addition. I came across this scene from Stranger Things season one, shot by Tim Ives, that really resembles the look I'm going for. My question is, does anyone know how this scene was actually lit? I can't tell if it's a single soft source or several sources, and how the characters are not backlit but the fog behind them is. Also, if anyone knows how they would have achieved this color, that almost bluish green look, what kind of gels over what kind of lights. I would greatly appreciate any input on this! Thanks guys!
  2. 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.
  3. Hello all! I'm a new member to this forum, I'm an undergrad student in LA and I recently wrapped shooting a new film just last week. One of the scenes I shot took place at an arcade, I was hoping to get feedback from other like-minded artists. What did you like? What are some things you would 've done differently in regards to lighting? If you have questions let me know! I'll be posting more stills in the coming weeks. Thanks. Link to stills https://imgur.com/a/hGzTWI2
  4. What are some of the most common lighting setups a gaffer , new into the job , must be aware of ? Could you share photographs along with each ? For Eg : Lighting up a green screen studio , Day to night & Night to day setups , Interiors with & without windows , Lighting up the same inside a studio , Lighting for different times of the day
  5. Hi everyone, as I'm involved in low budget filmmaking, I'm interested in knowing what I can do lighting wise, when shooting in houses and just using the regular wall plugs, without the gaffer having to do any setup for bigger lights. It's a topic where I feel quite rusty. In the US, I believe your theoretical limit is 120v*15a = 1800W per circuit. In France, we can in theory go up to 230*16 = 3680W. 1/ At the rental place, is this effectively the thresholds that divide lights that come with regular plugs and lights that don't (32A only) ? 2/ Does that mean that some lights (for example a 2.5k) come with a regular plug here but not in the US ? 3/ What are the brightest lights that you know of that can be plugged into regular home wall sockets ? For some reason I have - for France - the 2.5kW HMI, but I don't know all the lights, and I especially don't know how far LEDs have come in the last five years. Given their efficiency, I suppose a 2K (actual, not "equivalent") LED Fresnel would have an amazing output, if that even exists/could exist. 4/ Do you have a set safety "wiggle room" in mind, for example you would remove 20% of these theoretical max output and end up with 1500W in the US and 3000W in France ? Sorry these questions are a bit all over.. Thanks a lot for reading.
  6. I was recently asked to help shoot a few reenactment boxing sequences for a documentary and was wondering if I could pick some of your brains. After studying a few film scenes and actual boxing and MMA events, I think that a fairly strong (but soft?) top light and some harder sources that can dance around the subjects as a back light would be the simplest approach. Since I think this will be done on a 'modest' budget, I thought maybe some 4ft quasars through a magic cloth or silk for the top light, and like source 4s or pars for the back lights. I feel like I might be missing something, but I also do like to keep things simple. Does anyone have any insight on how to light a scene like this, or perhaps any recommendations as far units or approach? Or even references that I could research? So far, I've referenced Ali, Raging Bull and some of the reenactment footage from the Dark Side of the Ring docu-series. Any kind if advice would be greatly appreciated, RC
  7. Hey Everyone I must just be doing something wrong or my lightmeter is wrong but I was testing my 800w open face lights today between a few brands I have and noticed that my own Arrilite 800w Open faces put out considerably less light than what Arri's photometrics says they should? Arrilite 800w at 3ft away pointing directly at the lightmeter dome Recessed inside not out, settings (25fps, 800iso, 180d) 240v Full Flood I got a 340fc , Arri's photometrics say it should be roughly 537fc Full Spot I got a 2200fc, Arri's photometrics say it should be roughly 9871fc Is there something I'm doing wrong? I checked the bulb, Cleaned the dome results are the same I understand photometric arnt 1:1 but mine seem so far off Thanks -Samuel
  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. Hi Guys, Been going through my lenses and looking to rationalise a bit, so I’m selling the following kit: Lenses - All in PL Mount: - Zeiss T1.3 MK2 s16mm Super Speed Lens Set (9.5mm, 12mm, 16mm) - £6’000 gbp obo - Excellent Condition! Optics are Excellent, Mechanics Excellent - Zeiss 135mm T2 Std Speed Prime Lens - £2500 gbp obo - Excellent Condition! Optics are Excellent, Mechanics Excellent - Zeiss LWZ.2 15.5 - 45mm - £6’800 gbp obo - Excellent Condition. Just had a full service by my tech at Arri. Optics are Excellent, Mechanics Excellent - Angenieux T3.9 Zoom 25-250mm - £1’000 gbp obo - Glass is good aside from a ding and some scratches on the front. Will need a shim as doesn't hit infinity currently. - Duclos 11-16mm Zoom - £1100 gbp obo - Excellent Condition Throughout! Optics are Excellent, Mechanics Excellent - Lomo Std Speed Set 7 Lens Set - 18, 22, 28, 35, 50, 75, 135mm - £4’000 gbp obo - Glass generally in very good condition although there is an internal crack in the 18mm (a common issue with these lenses) and some heavy coating marks on the front of the 135mm. Will need a service as some of the iris’ have oil on them. All detailed in the pictures - Cooke 317mm Telepanchro (Not in PL) - £3’500 gbp obo - Optics are Excellent, Mechanics Excellent - Cooke 25-250mm T4 - £4000gbp obo - Optics are Excellent, Mechanics Excellent Prices are + VAT if within the UK Pictures of all Lenses and other Kit Here: https://www.dropbox.com/sh/8o2rodii2u8csz3/AADWh49TXWrj655NyXG93Ilma?dl=0 Lighting: - K5600 Joker-Bug 200 HMI Lighting Kit (Near New Condition) - £1700 gbp obo Accessories Etc: - Having a Massive 'Yard Sale' of old kit also. Feel Free to email / message me direct if there’s anything you’re interested in! Very open to offers and bulk deals on all. https://www.ebay.co.uk/sch/cinelens2020/m.html?item=124257386665&rt=nc&_trksid=p2047675.l2562 Contact me on dp@adametherington.co.uk if interested
  10. Hi guys, Just had this clip pop up in my feed, and I was struck by the key lights in the first section around the card table: https://www.youtube.com/watch?v=Oz8TYyn-k40 Straight-up hard keys. And they look great, almost seamless. I had to actually pause the clip at first to confirm that it was actually hard lighting. I feel like you could use this lighting in any contemporary film and "get away with it" without spoiling the look or feeling incongruous with the soft-lit keys that (these days) shape the vast majority of shots. Indeed, most of Goldeneye is very much soft-lit. Now I know this is Phil "F**king" Méheux's work, and I'm not worthy to smell the ground he cinematographically walks on. But I'd love to hear how people would approach a situation like this. I feel like it's reasonably obvious that the hard lights were simply the only practical way to pick out Bond and Onatopp from the crowd is such a large, and crowded environment (they look about a stop hotter than everyone else, which serves that purpose really nicely. Also, with such a large table, and a lot of top-light providing the general ambience, booming in softer keys for the close-ups would have been obviously time-consuming and a bit problematic. But why do these keys look so smooth and seamless (when others so rarely do)? Is it just a really precise key-to-fill ratio? I'd love to hear people's thoughts. I feel like mastering this kind of hard-lighting would make a lot of nightmare lighting situations (like this one) a great deal easier. Trying to wrangle big soft sources all the time can be a real pain.
  11. As always thank to anyone in advance who reads this and your generosity with sharing your opinions and experience. I am in the process of prepping for a particular shoot, one of which that I do not have any experience in the type of shooting, although I'm eager to learn. Basically, the job requires me to 1 shot of a small rodent being shipped in from abroad on a closed set in a studio. We are to film it inside a box with 30cm width and 100cm length; interior walls fully blacked out, and the box is filled with sand and a few elements of grass. In this box it will be able to move around freely and jump (the rodent can jump 12cm on each leap). I need to have a hole in the box for the lens. They need this to be captured in as high a frame rate as possible, however we are still concerned with subjecting the rodent to too much light which could potentially harm it. After speaking with the animal handler, he has told me the light the rodents are used to would be just a bit brighter than sunset, which is not great. This means 240 FPS is more than likely not an option but I would prefer not to go below 120 FPS (96 FPS is the minimum for sure). The shutter speed will have to be higher than the average for this also as the rodent I suspect moves and jumps quite fast. To add to this I will need a high F stop to capture the rodent in sharp focus to limit any soft shots (I am trying to get a focus puller on this job if budget will allow). So putting all these factors together it does seem I'm going to need to light this quite brightly , and if the animal care provider does not agree on the lux levels of the light I will have to sacrifice the F-Stop sharpness a but along with reducing the high frame rate. Now a few questions for anyone who may have some experience with filming animals in a studio in tight areas or in small mammal camera boxes: What lens/lenses would you suggest for capturing this creature? The client has requested they only need 1 shot, but I'm thinking if budget allows having a wider lens to capture the interior of the box and the rodent in a full shot, and then secondly a macro lens to hopefully capture an extreme close up as it jumps in mid air - poking the lens through the same hole just changing the lens (I'm thinking perhaps 2x Arri Master Primes as they are the sharpest lenses I have worked with before - suggestions are welcome on brand and especially suggestions on focal length? Its difficult to know this just going off a the 30cm width and 100cm length; I will only have access to the box the day before so will try to arrange a test even if its on my small Black Magic camera. Also any tips on if I should be thinking of using extenders or macroscopic lens adaptors for macro shots, or if I should indeed be looking mainly at macro lenses for this What cameras are recommendable? I personally am looking at the Red Helium as it has the option to record 2K in 240 FPS max and various other below frame rates, or the Arri Alexa Mini at 200FPS in 2K Pro Res. I originally actually thought of the Red Gemini as my research shows it performs best in low light situations, however this camera is not an option from my preferred rental house. Lighting: How can I light the rodent in the box? In my head there is 3 options - 1. Top of box is a netted material which will keep the rodent in and allow my light to shine through above it (any suggestions on material welcome) - 2. small LED's stuck to the interior top of the box - 3. A hole again through the box with a light shining though (although this means my lighting shape and direction can not change so quite limiting. ------ My first thought is to use an Arri M8 or M18 as the main light with a 45 degree back angle; Also putting in a small piece of white cloth on the interior of the box to get some light bounce back to fill in the front. (I'm lighting to make it look like a real sunlit setting). The M18 I will spot 50%. From my calculations 120 FPS at ISO 1200 with a shutter angle of 90 degrees at 50% spot would allow me to bring the F-Stop to 11 at a distance of roughly 5 metres. Now 5 metres for an M18 to the rodent may actually be to intense for the animal so an M8 may be more sufficient. Going by Arri's photometrics the majority of their lights are recommended to be kept at a safe distance of at least 5 metres but I assume that is not intended to mean for rodent size. Would be interested to hear if anyone has a solution for this in terms of using a different light or managing to put the light through the hole but at distance without leaving a gap in the box. I have to make sure the rodent is not affected by the heat or burned so I have been thinking going LED if I could get enough light in there for my frame rate. Any need for a Focus Puller? Normally I would of course want this crew member on board, but the budget is so tight right now and the nature of the shoot makes me wonder if their services would be void when regarding the speed and uncertainty if the animal. F11 should keep this sharp in my opinion, but again not doing this shoot kind of shoot would appreciate your opinions. I have attached 2 reference pictures of for the shoot. It is screenshots of the same type of shoot filming a gerbil in a confined space. Notice the hot slash of light across the sand, that is pretty much what I am going for. I am also trying to get the same focal length if anyone has suggestions on what this could be. I will have some pictures soon of what the box will look like so I will share that too. Any experience or suggestions is seriously welcomed so please let me know your thoughts or any questions you might have. Thanks so much.
  12. This topic seems to appear in this forum every year or so but I've not quite found a definitive answer for myself. Since full on production does not seem to be coming back too soon I thought it would be a great time to think about optimizing. Some people seem to not do any diagrams at all, some jot them down crudely on a piece of paper, some use Shot Designer or some sort of drawing app (OmniGraffle and Illustrator seem to be the options of choice). For really specific setups or on big shows Vectorworks seems to be a great option. If you need to do pre-vis as well, Maxon Cinema 4D might be a great choice. I've tried most of them and it seems that there's always a tradeoff between specificity and the time it takes to create the drawing. When you go into the 3D realm, there's a steep learning curve and it feels like this should be somebody else’s job. In 2D most options seem to lack rigor; I've had gaffers ask me "What's the yellow circle with two lines?" (the symbol for female in Shot Designer). Plus, there seems to be no way to import an architectural plan or dimensional drawing of the location properly. At the moment I'm using Photoshop, for which I've created about 400 scaled assets (10cm=1m / 4"=4') based on manufacturer's dimensional drawings. It can be a bit clunky at times but it saves me a lot of guesswork in cramped locations trying to figure out if something will fit. I'm trying to figure out what people are using in what types of productions and for what reasons. I'm thinking of developing an universal Web App that bridges the gap between sketch and technical drawing. Besides neat and slightly compulsive diagram creation, I'm looking to hear what other features people might want for a 2D lighting planning app. At the moment I'm thinking of the fallowing tricks: · Open Source Database · Generates basic kit lists based on items used · Basic photometric information in SI and US Customary Units · Calculates total maximum power draw of setup for either 110V or 220V · Calculates camera field of view based on sensor size and focal length. I’m attaching a basic diagram I’ve created with my assets, I’d love to hear what everyone thinks about the style and specificity. I’d also like to hear if this a non-issue and if I’m just over-analyzing with all of this time on my hands 😊)
  13. I'm in the process of putting together a lighting style for an upcoming horror feature that I am shooting. Will we be on the Alexa Classic. Question: When shooting interiors, are there perks to using a blue-gelled Maxi Brute rather than an HMI when it comes to simulating daylight? There will be tungsten practicals in the shot as well.
  14. Hello, I'm currently working on my dissertation project where I'm planning to create a guide on how to light all six skin tones on the Fitzpatrick Skin Tone Scale under the three-point lighting setup, also know as the McCandless System. The original plan was to do the tests myself with six subjects, matching the skin tones of the six on the Fitzpatrick scale however due to the Coronavirus pandemic, this has become impossible. In order to continue with this project I have decided to create this guide with methods I would have taken myself, past experience with lighting and potentially some advice from you on this forum! Camera-BlackMagic Cinema Camera EF Lighting Fixture- Tungsten fixture During the tests, only variables would have been changed in order to find the optimal setting for each skin tone, the lighting setup, lighting fixtures and camera would remain the same. If changing different variables doesn't make a difference and the skin tone doesn't look natural in the images captured, the images would be put into an editing software to essentially "cheat" to see if the skin tone can be truly represented in the image. As a finale for the tests, the lightest and darkest skin toned subjects would have been placed next to each other infront of the same equipment and lighting setup, where only variables would have been changed again to attempt to light both skin tones appropriately within the same frame. This guide is not only for my dissertation project as I believe it would help any aspiring Cinematographer or DOP working with a variety of talent with different skin tones. Does anyone have any advice on how they would approach lighting the six skin tones presented only using the three-point lighting method and only changing variables such as gels, scrubs, makeup, etc. also what kind of camera and lighting fixture would you use (must be a tungsten fixture). I hope to reference any suggestions made in my dissertation project so I hope that isn't a problem for anyone, if there are any qualms about this please let me know! Any suggestions/advice would be greatly appreciated on any aspects of the guide, I hope your all keeping safe during this strange time. Thanks Sean
  15. Hello everyone, I've been involved in video production for a while now and am now keen to learn more in depth about lighting and getting more experience in the field. Reading about meters, I understand how helpful they are in determining contrast ratios and light levels on interiors and locations, and are especially beneficial when shooting film (I'm getting into shooting 35mm stills lately). My max budget is around £200-400. So far my eyes are on the Sekonic L308X for its footcandle/lux readings, easy-to-find battery and size. However, the things holding me back are: Lack of head rotation (not a good look on set?) Flat disc accessory might be easy to lose Lack of spot meter reading Ideally, I'd love to have a 758 Cine, but I find they're hard to come by on ebay (plus can get a bit pricey if in a bidding war). I could go for any of the high end photographic meters, but I'm unsure about the lack of footcandle/lux settings in a majority of them. Is this a problem if I need to perform/communicate something quickly? Would I be better off getting a cheaper lux meter separately? Ultimately I hope to buy something that's reliable for starters, but will come in handy years down the line. Thanks. 🙂
  16. Feast your eyes upon two of the most highly rated, luminous glow-emitting light fixtures to have ever been constructed in the history of Hollywood. Manufactured in the heart of Burbank, built from blood, sweat and tears; The Kinoflo 4x4 fixtures have dominated the industry for over 20 years. The natural quality of light has been said to fool even the greatest DOPs into believing it is not an artificial source, but the soft glow from a window on a summer evening, just before sunset. Deakins himself has claimed the Kinoflo 4x4 fixtures are the only manmade instruments to come close to replicating a truly authentic and natural light source. History was made the day these puppies came into production and will forever be remembered as the greatest invention to grace the grueling business that we know as "the Film Industry".'Deakins never said that about Kinoflos' Selling 4x4 Kinoflo Kit - $1500(2) - Kinoflo 4' 4 Bank(2) - 4 Bank Feeder Cables(2) - 4 Bank Ballasts(2) - Kino ball Mounting Backings (Pin for Gobo)(9) - KF32 4' Tubes(7) - KF55 4' Tubes(1) - Kino non rolling case (Very Worn)The Kinos work fine other than a bit of cosmetic wear and tear. Local Los Angeles Pickup only
  17. I am on a quest... I recently acquired an Arriflex SR I and have been preparing for my first 16 mm film project––a proof-of-concept short film for a micro-budget feature I plan to create in the next two years. Most of the story involves both day and night interior scenes: a classroom, an art gallery, households etc. My aesthetic approach is greatly influenced by the oeuvre of Tarkovsky, Bergman, Bresson, Antonioni, and Dreyer. I have a tremendous reverence for Sven Nykvist and have been sifting through the scarce footage there is of him at work. Rising from the ashes of my previous digital life, I confess my ignorance to the world of tungsten and HMI lighting after having sunk deeply into the sofa of LEDs. Yet, I've been fervently researching these past couple of weeks and analyzed documentaries of Nykvist... It appears Nykvist frequently used Ianebeam redheads (I would assume 1000w) and 2k blondies to bounce light. I'm uncertain which other models of lights he used seen in the attached screenshots and photograph. I'd imagine he shot on tungsten stock for interior scenes and had the great fortune of utilizing a soundstage to his advantage. Given that I am an independent filmmaker working with a micro-budget, where do I begin when it comes to investing in lighting equipment? For me it seems that incandescent lighting is the most reasonable route to tread at this juncture. I will invariably be shooting on-location for this narrative and I'm debating how I might tackle lighting interior scenes in the footsteps of Nykvist. The questions I continue to wrestle with are: Should I shoot on 250D or 500T? If I choose daylight stock, is it worth gelling tungsten lamps and losing light? If I choose tungsten stock, is it worth gelling windows? How much light do I really need/which lights normally get the job done if I should like to use an aperture of 4? I'm also quite ignorant to generators. I understand that if one were to acquire and use three 2k blondies to bounce light from white muslin draped outside a window, one will need a 12,000w generator and enough amperage to support 16.7 amps per unit. Would a conventional generator one might find at a hardware store suffice for incandescents? My novice knowledge informs me that noise may very well be a problem with some models as well as flickering. And the last thing I want to experience is exploding bulbs. Enlighten me! There are many other thoughts and questions, but I shall leave it at that for now. I am eager to receive more insight and information to assist me on this voyage. Many thanks ahead of time!
  18. ARRI Studio Ceramic 250 Hi Guys I am interested to hear peoples opinions on this light it sounds like something that would be very handy to have in my kit. It seems to have a built in ballast and the bulbs can be swopped between a tungsten 3300k bulb to a hmi type bulb with a 5500k temperature. They power usage is 250 watts and has a light output the equivalent of a 1k tungsten. They sound to have a lot versatility and they run cooler temp wise. But am i missing something here. Why are these not that popular, fair enough they are an older light fitting buti have never seen one of these on set or in any hire houses? The CRI is 90 is this the reason. I d love to hear opinions on this light the pros and the cons off anyone who has used them. I am considering buying one but dont have any where to hire it from to test one first.
  19. Hello all It's been a while since i've been on this forum. Right now, i'm working as a DOP for a local television in Switzerland. We've been rebuilding the whole lighting rig and i'm pretty happy with the gear i've chosen. It consists mainly of Fiilex and Elation fixtures. Anyway, i'm struggling a bit with the video walls on the set. No matter what i do, they always seem to be too bright. I tried turning down the brightness but, i still need to light the talents quite strongly to compensate with the video walls in the back. The phenomenon is the same with the different lighting scenarios i have. Either low key or high key. My question is: how do you deal with led/video screen walls on a TV set ? I spoke with some colleagues and they told me that they turn down their LED walls to the minimum and sometimes, they even lower the opacity of the media files. I also struggle with the white balance of the screens. Before i arrived, they have been calibrated way to high (around 7000K) and i have to light the whole set at 6500K (limit of my projectors) and turn the +green to the max to match the screens. The in the camera, in have to compensate this green/cyan tint. Do you think there's another way to do this rather that re-calibrating all the screens ? Wish you all the best in those strange times and i'm looking forward reading your answers.
  20. Hello there folks. My 2.5 strand hmi barn doors have unfortunately have gone missing. This light is a linch pin in my kit and is pretty useless without the barn doors. I just wondered if anyone had any spare ones they are willing to sell. I have searched the internet looking for them and had no luck. Any leads or suggestions of where to look would be deeply appreciated.
  21. Hi Masters, do you know what is dynamic lighting.
  22. I'm shooting a music video inside a restaurant with drop ceiling (location) and would like to create practical overhead lighting (like this) to give us more freedom with our framing. In the example above -- it looks like they popped out tiles where they needed light, laid out a large cut of diffusion across several tiles and placed individual fluorescent tubes (astera, quasar or kino?) on each rectangle. What do you think? Can anyone provide any helpful ideas on how to achieve lighting like this on a modest budget? The restaurant also has several 3-bank T12 fluorescent fixtures already installed. I'd like to replace these fixtures with T12 kino tubes but the location is pretty dated and I'm worried about flickering because of old ballasts. How can I tell if the ballast will produce a flicker? I looked around the fixture and didn't find any specs printed on the side.
  23. Upcoming summer fashion shoot for a sunglasses campaign. The creative requires throwing shadows into the space to emulate sunlight coming through a window/casting shadows through exotic plants etc. We're working on a bit of a tight budget, looking for recommendations on how to light a space like below (it's a photography studio), to achieve close to the look on the example storyboard from the client. There's a lot of natural light in the studio space so we'll need a good bit of light to create a decent contrast ratio between sunlight & shadow. I'm thinking potentially one Arri M18 through CTS/CTO and actual plants/windows cut out of cardboard to motivate sunlight. That's pretty much as far as we can stretch the budget in terms of hiring lighting. We have 1x Aputure 300d and 1x Aputure 120d available already with 1x floppy & a few flags for neg fill. Also, can anyone recommend any window/plant gobos? Unsure what we'll end up lighting with, and I've never used gobos before... Any advice would be awesome, Cheers!
  24. 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!
  25. Hi, How would you go about and light this room for a moody feel? There is no budget and no crew. I have a couple of small lights 1x300w + 3x60w LED and a LED panel, a hazer and a big roll of ND. I also have 2x Yeelight RGB bulbs. So what do I need more? I look forward to hear your ideas 🙂 Thanks a lot /Per I love the look of this:
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