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Found 6 results

  1. How does the A7s and the BMCC compare against each other? Because I've just joined on as the DoP to shoot a feature on a BMCC, but given the nature of the film (shooting most of the time late at night), am wondering if a Sony A7s is better. Am curious about some direct comparisons between an A7S and a BMCC at night, and how they'd be able to grade, and how they'd be used in practise with lighting set ups (as if we can use a smaller lighting kit, that might help mitigate some of the cost of an A7S), their look, etc. As if so, I might then recommend to the director trying to find space in the tiny budget to switch to a Sony A7S instead. What I really wish Sony would do is make something like an A7S version of the Sony A5100. So perhaps an APS-C version with merely a 5 megapixel sensor and the same amazing low light performance as the A7S but with the cheap price of the A5100! As I don't need a "full frame" sensor, neither do I need more than 5 megapixels so as to have enough for 4K video. I'm content with 1080p.(after all, even with the A7s, most are not shooting 4K because it doesn't do internal 4K) Unfortunately I don't think a 5 megapixel camera would go down well at all with the typical 2014 consumer, even though I've shot plenty with my old Nikon D50 which was only 6 megapixels. So I think 5 megapixels would do just fine for casual photography, especially as it would be a very very good 5 megapixels. (plus of course I wouldn't be getting it for photography, but video)
  2. Hi guys! I would like some advice on an upcoming small commercial project I have. I usually film narrative or documentary so I wanted to hear some suggestions about this particular corporate project. I have to film a black speaker with a dark background with smooth movements (slider) using close-ups and some wider shots. The speaker s black and red (picture attached) so they want to empathize those colors with the use of lighting. Like these two references: The space where I'm filming is very wide (the picture is attached on this post). I would film at night so I don't have light coming from the windows. I was thinking to have a back HMI 650W/1200W with a full red gel lighting the columns to create some red lines blurry in the background and then light the product with hard back light and a fill to add some detail from the front side. - Which lights would you recommend for the product itself? A good reference too would be the iPhone 7 picture. - What could I use to give some red vibrant elements to the light? Smoke and light it with red filters? Or talcum podwer? Thanks for any advice. best
  3. Hey I hope all is well. I have an upcoming shoot that involves a party scene and I would like to include strobes and lights that pan and pivot. I've recently been looking at the work of Evan Prosofsky, Stuart Winecoff, and Steve Annis who have been producing some amazing work (in particular party/night scene work). Please find attached the links to the videos I'm referencing and some frame still frame grabs. If you guys could point me towards the kinds of lights I'm looking for that would be great. https://vimeo.com/129187816 - Stuart Winecoff (music video for Astronomyy) https://vimeo.com/95145651 - Steve Annis (music video for Wilkinson- see 1:45) https://vimeo.com/50873621 - Evan Prosofsky (music video for Grizzly Bear)
  4. Sharing a short film we just posted online, just in time for the NCAA tournament. I shot Alexa 4444 2k, superspeeds wide open most of the time. Some of our influences were a little Savides meets Soderbergh with a dash of Fincher. My friend Andrew Lewis Directed, Nice Dissolve in Brooklyn did the Color. Kyle Fasanella on steadicam. A confrontation with an old rival makes Zack Woods a media sensation hours before leading his underdog team into Game One of March Madness. Let me know what you think and enjoy!
  5. I thought the following test was interesting: http://www.cinematography.net/edited-pages/single-candle.html The MX sensor seems to do especially bad in this test. It's an extreme test (only one candle) but it seems to hold up what I've been suggesting, that all this talk of video being so much better than film in low light for the last 20 years doesn't hold up to much scrutiny. The Alexa and MX are high end large sensor cameras but at 800 ASA neither of them look very usable. The Alexa looks like it might be semi usable with a load of noise reduction at 800ASA. The MX stuff just looks really grim at 800ASA. This seems to hold closely to my own experiences that all this talk of video being so much infinitely better in low light than film for all these years has been just that. Talk. Usually from people who I suspect had little to no experience with film. It took me a while to realise that all the people telling me my mini dv camera was so much better in low light than film cameras were talking nonsense. (At first I thought I must be missing something because there were so many people saying this stuff) They were usually the same people telling me you didn't need to light anything anymore in fact. The good news is that the situation seems to be finally changing. The Red Dragon sensor seems very capable in low light and the Sony cameras in the test look hopeful. The Canon 1DC camera is a startling improvement. I guess if you keep saying something for long enough, maybe it does become true. Freya
  6. Hi. I shooting a little narrative film on the Arri Alexa camera. We donĀ“t have the time to shoot a test before we start shooting and I watched some test online about how high you can go with the ISO in the camera in low light locations. Do anyone in here have good experience with the Alexa camera? And how high can I put the cameras ISO with out seeing to much noise in the blacks? Thanks, Henrik www.henrikameyer.com
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