Jump to content

Search the Community

Showing results for tags 'practicals'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Cinematography Forums
    • General Discussion
    • News & Press Releases
    • Lighting
    • Camera Operating
    • AC's & DIT's
    • Grip & Rigging
    • Visual Effects Cinematography
    • Grading, DI and Telecine
    • Students and New Filmmakers
    • Cameras Systems and Formats
    • Lenses & Lens Accessories
    • Camera Accessories & Tools
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • In Production
    • On Screen
    • Cine Marketplace
    • Business Practices
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Regional Cinematography Groups
  • Not Cinematography
    • Producing
    • Directing
    • Sound
    • Editing
    • Off-Topic
    • Forum Support

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Website URL


Skype


Location


My Gear


Specialties

Found 7 results

  1. Hi everyone, I'm a long time reader and a first time poster and student. I'll be shooting a shooting a short film in about two months from now which calls for "a bar lit with neon signs". Think of the Bud Light and Heineken signs many bars have as reference. Obviously we won't be able to use any brand signs because of legal issues but I've been thinking of several alternative ways to achieve the same mood. Also real neon signs are expensive and a serious safety hazard. Also keep in mind that the bar will be filled with fog similar to heavy tobacco smoke you see in many movies. The director wants to have neon looking practicals as much as possible. I have two 4 foot quasar LEDs that could potentially be gelled and placed around the background but I feel as if only two tubes wouldn't be enough. 1) Has anyone had any experience shooting and sleeving (hard coloured tubes that fit snugly around the bulb) cheap fluorescent units? Do they have a chance of flickering? What about noise? Is there a way of powering them with unaltered wall power or do they require a ballast? If so can they be powered in a way that wouldn't require a housing frame around them? 2) Has anyone had experience with cheap neon LED signs? They basically look like neon signs without actually being neon? I'm afraid of cheap LED units because of potential flickering. https://www.amazon.com/Wedding-Suppliers-Operated-Lighting-Valentines/dp/B075MXR77D/ref=sr_1_7?s=lawn-garden&ie=UTF8&qid=1524627473&sr=1-7&keywords=neon+sign 3) This piggybacks off the last one. Has anyone had good experiences with colour shifting LED stripes or ropes? https://www.amazon.com/NEON-110-120V-Waterproof-Controller-Decoration/dp/B01JZ754SG 4) I have tungsten lights ranging from 250W to a 2k baby and a set of 2 4' Kinos (tungsten and daylight) at my disposal as well. I'd be using the previous the push the lights. Are there any particular theatrical gels that you have found similar to the hue of neon lights? Green, blue, red, pink etc. Thank you for reading and also thank you in advance for answering!
  2. Hi guys! Okay so I have a shoot coming very soon. One particular scene is in a garden at night, with friends around a table eating & in conversation. Its gonna be 10/12 seconds in the final video. So I want to put up hanging lights between 3 palm trees in the location with the characters underneath the lights. I tried looking in to research for other DP's who have done this look quite nicely. Deakins in Sicario I found he used 40 watt bulbs and there is quite a lot of them (plus light bouncing back down off the ceiling). Here is an image for reference: So here is now my location. All exterior so no bounce from the lights giving me extra illumination down there. So obviously this will be at night. The hanging fixtures as mentioned will go between the 3 palm trees (table and actors near center). The production designer on our meeting had with her the hanging garden fixtures. She had also 5w bulbs. Each meter of the hanging fixture is 2 bulbs (10 watts with these bulbs). I am worried that once this all is hanged up it won't be enough using these bulbs to light the scene. In my head it's around 200w over the talent heads, but if Deakins is using all 40w bulbs there than it makes me think I need to put higher wattage bulbs in this too. I could use a 500w / 1k Jem Ball over the top of them if this happens, but I kind of like it being easier to set up the wide only using the practicals & then with my MIDS coming in with a soft source for their faces (granted I am only getting 1 wide but still saves me putting up this giant light up top). Let me please know your thoughts. Would this be enough with these 5w bulbs? Should I get a bunch of 20/40 watts instead? Should I fill in the 5watts with a bigger light up top out of frame? Anyone who has done something similar before I would really appreciate the feedback. I am using the RED Epic Dragon to film. Thanks!
  3. Kaspar Kamu

    The Shining

    Dear Forum, Stanley Kubrick is a director whom I have admired for as long as I can recall. His innovations to filmmaking are innumerable and in his wake has inspired several contingents of new filmmakers to push the limits in terms of conventions. Anyway, it was yesterday when I rewatched The Shining that a particular question came to my mind - his lighting techniques. I know that Kubricks use of practical lighting was quite groundbreaking, but how much did he actually rely on them to light the entire set (excluding the use of large daylight fixtures for interior day scenes)? Kubrick enjoyed immense creative freedom on his productions and was thus able to reconstruct the entire interior (and parts of the exterior, I believe) of The Overlook Hotel on a soundstage. Please take a look at the still attached. As you can see there are numerous practicals visible, and they are all blown out. Is it reasonable to suggest that all bulbs are a minimum of 1kW? Since the fastest available film stock until 1981 was only 100 ASA, would these practicals have been enough to light the entire scene? And what about the reflection on the floor in the bottom left of the frame? Many thanks in advance!!
  4. I was wondering how you can achieve this more yellow tone lighting through practicals and or through studio lights such as tungstens/HMIs/LEDs/ect which removes the orange. Camera Color Temperture setting would be helpful as well. Here is a example of what I saw in Upstream Color
  5. I shot this teaser back in November or so. It's supposed to be two characters having dinner at night. I've gotten comments that it looks like daytime as opposed to night time, and while I don't completely agree, I'm wondering what I could've done differently to make look better as a night scene. Any ideas, comments, or critiques? Also interested in hearing how I could've made it look better overall, not just more "night-like." http://imgur.com/TKS72yF,YZpXa9Z#0 For a little background info, the guy has kidnapped and drugged the girl (his ex) and is forcing her to have a nice dinner with him. It's a thriller. For the scene, the characters were pushed up right next to a window in a cramped kitchen. I had the option of either lighting through the window or from camera-side, which I avoided as I felt it wouldn't fit the dark material. I used a 1k open face about 10 feet back from the window, using drapes to shape/control it as much as possible. Some light curtains were softening the light a bit. The light was a bare tungsten unit and my camera was balanced to 3200k. I also had a bare tweenie bouncing off the ceiling for fill. Since there were no practicals to motivate from, I tried to pretend there was some sort of street light coming in from the window, so I wasn't going for a moonlight look or anything.
  6. I'm planning to shoot an extended fight scene in a hotel room. Not a fancy hotel, think Days Inn. We will be shooting very quickly and I want 360 degrees of camera movement, with no apparent lights in frame. I'd like to shoot the whole scene at one f-stop, being able to move actors in and out of light and shadow as need be. Maybe f4, so focus isn't a huge pain. I'm shooting on a GH3. These are the two options I came up with… 1) swap practical lamp bulbs for 100W or 200W bulbs. or... 2) put a 1K on the balcony and light room through slats in blinds. swap practical bulbs for 25w bulbs. Will option #1 cause the lamps to blow out, or can I arrange them so that there are pools of light serving as both key and fill? I am a newbie and need your help, so please impart your sage advice. My goal is to keep the lighting as simple as possible. Thanks so much!
  7. I'm hoping someone could enlighten me about these two shots (the first from The Social Network, the second Blade Runner.) I'm interested in how they were lit, practically speaking? I can see they both have practical sources- an orange outdoor light and a fluorescent bathroom light, but I'm curious as to whether any other sources or reflectors were used.
×
×
  • Create New...