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Found 6 results

  1. Hello everyone, First time poster here, and I am shooting a promotional video for a martial arts competition coming up where my entire crew has 0 experience with gripping (family and friends). It will be my first time also using bigger lights, and I also have 0 set experience. I want to be most prepared when approaching this, since I'm dropping my own money to rent equipment, and I'm asking a lot of favors. I need your help going over my whole thought process to see if there are any big errors. My budget is under 500 dollars so please keep that in mind. Basically, I'm trying to get the look in the 3 reference stills. The content of the video is a fight scene very similar to the wushu stills. My interpretation of how I can get this look: It looks like they used hard a hard backlight with bounce from the floor and a bead board to get the frontal fill, then hazing the room to get the shaft of light. The room: I have attached a picture of the location below. I have access to a 40x60 foot room, with 20 foot ceilings. The included photo has a rubber mat but when I am shooting it will have a shiny wooden floor. The ceilings are white and the walls are half wooden and half white. The Light: I added a diagram so it will be clearer. I am thinking of using one or two ARRI Fresnel 650w, since it will be in my price range. I am not sure if it will have enough output to get what I want. Also, I want to rig it as high as possible, almost like a top light, but not sure how I can get it there. There will also be candles placed in the cabinet on the back wall, and I want to make sure it will show up with the exposure set to the Fresnel. Light Modifiers: To control it, I was thinking of going full spot and using the barn doors to get it off the background and the ceiling. I am going to put black bedsheets on 2 c-stands, one on each side of the talent. I am also going to use a bounce light into the talent’s faces so they are not completely silhouettes. For Haze, I’m planning on using Atmosphere areosol, Demonstration of the product Camera and Lenses: I am going to rent a sony A7sii (never used it) since I have heard good things about its low-light capabilities, and also rent a 24-70 mm sony lens, since it feels safer and less likely to screw me over than a prime. Questions: My main questions, from most important to least important, since I don’t want to take up too much of your time. Will my method of controlling light work? If not, what are some low-budget alternatives? Is the 650 watt Fresnel enough output for what I want? How can I get my light as high as possible? Can I get this lighting setup done in 1 hour by myself or with an inexperienced crew? Should I use a different camera within my budget? Should I rent a sony a7sii that I have never used before, or use my Rebel t4i that I know in and out? Should I use primes instead of a zoom? I know I will need one wide shot and the rest will be waist up and some closeup inserts of the hands and faces. Opinion on Atmosphere Aerosol? Should I rent a machine instead? I would also like help with the rigging and electrical components of how I can make this work, but I know this is the wrong section to post for that. Thanks, I hope I wasn't too annoying. Basically, I want to recreate this look
  2. I shot a short roll of Kodak 500T (16mm). Upon finishing I noticed, much to my dismay, that the ISO on my light meter was set to 50. So, the fast film's exposure index is rated at 500T and I overexposed by how many stops? Can either push or pull (pull, right?) processing save this spool? The negative is probably pretty dense too, right? I saw a latitude test where film was overexposed by 5+ stops and it looked nice. Hoping there's a way to remedy this problem.
  3. So I am trying to look into Renting equipment for 14 Days for an Indie Film. The issue is we only have about 6K to spend for a FULL Camera Kit and Lenses. Mind you I have a good tripod, but obviously need all the working parts. Im really contemplating a Canon C300 MKII for 4K C-Log, with either a Zeiss CP2 Kit (which is much cheaper, under budget it seems) or a Set of Cooke S4 Primes which puts us right on target, maybe a hair expensive. I'm a stickler for quality and this film is really in need of that "David Fincher" Style usually locked off on a tripod, so no need for handheld rigs, but needs to have a very "anamorphic" look and almost like 35mm Film Stock! Im not a Cinematography Pro, I just really need something that does well in low light, doesnt need to be like an A7s, but that NAILS Color and the overall feel of things. Hope someone has some ideas! Thanks!
  4. I just bought a Bell & Howell Filmosonic Director Series super 8 camera and have been having some issues with it. I've never owned one of these cameras before and am a bit new to using film cameras in general, so I apologize if the resolution was glaringly obvious. I put batteries in and it ran well; the lights turned on when I tested it, but for whatever reason I can't see anything through the viewfinder. It's just black. Could something be blocking it from the inside or is it broken?
  5. Hello! I'm new to the forum, but I have made several student films before... I have a question, I want to try and experiment with a Super 8 camera. I don't have any idea what are the best Super 8's out there, but I would like something with an alright zoom, cheap (under $70), and that records good audio... Does anybody know of any cameras in that description? Thanks, Brian
  6. I just bought krasnogorsk-3 and while i'm waiting for it to arrive i started to search for some data about it. To be quick here are the two main questions that i can't find any reliable answer to: 1. When did the production of k3 start and when did it end (- i guess with the collaps of ussr)? 2. Are there any movies that were shot with k3 (- i'll have to wait for a week or two until it arrives from Russia to Croatia, so i would like to watch some movie filmed with k3)? Sorry if there's already a post that answers this questions, i went through a lot of posts about k3 but i couldn't find anything.
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