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Found 2 results

  1. Hi all, I am currently in the process of writing my University dissertation which is a comparative study between L.E.D lighting against traditional lighting fixtures in Hollywood film-making (such as Tungsten Halogen lighting fixtures) and was wondering if anyone could help me answer some questions on the subject. How far a role does colour rendering index play in D.O.P’s choosing Tungsten Halogen lights over L.E.D? With improved sensors able to operate in less light will this be advantageous for less powerful LED lights. Is there still a need in film-making (especially Hollywood film-making) for the bigger lighting fixtures? (e.g lighting fixtures such as the Sunray 24K Fresnel light) Thank you very much for your time.
  2. I am wondering about the feeling that a film gives to its audience when it is realized with a single focal length. First of all I am very interested in your experience if you have shot a (documentary) film with only one focal length! Which kind of story is likewise being told with the use of just one focal length? Which are the criteria to choose this component for your work? Does the film seem more realistic to you in the end (let's say, if you use a 28-45mm)? Does it help to keeping the overall atmosphere homogeneous when each single scene owns a different camera-language? Please let me know about films and other video material related to my thought! It would be great if my inquiry raises a discussion about why to sustain a film's story through that technically and esthetically "dogma". Thanks in advance for your information input!
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