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Found 9 results

  1. https://nofilmschool.com/blackwing7-custom-tuned-lenses-bradford-young-asc Custom tuned lenses, interesting. This with an LF Mini will make wonders. Not sure if this is new news or old news
  2. Hey everybody. Coming up this week I'm going to be shooing a commercial for a company that makes granite table tops and was hoping to get some thoughts on how to light it. The idea is that we'll be shooting overhead looking down as we see hands on the counter doing different day to day tasks. For example, we will start with one counter top as we see a hand throw some keys on the counter, cut to a different one as we see someone else's hands preparing food, then another as we see the hands of a kid playing with a toy car, and so forth. I'm curious as to how some of you guys might tackle lighting this. I'm imagining high key, soft lighting. Obviously I can't use a soft overhead source because my camera will be in the way, and I'm a bit concerned about distracting reflections on the counter top. I have a few Arri fresnels, Lowel Pro's, Omni's, and a Tota available to use. At the moment, I'm thinking along he lines of shooting a 650 Fresnel through some kind of diffusion to the side, maybe even a book light, but I'd love to hear your suggestions. Thanks!
  3. I'm going to build off of the setup in the attached picture for a hip hop cypher video. I'm going to build a 2 level pyramid stage for the rapper to stand on. The base will be a 5ft x 5ft square. He will be surrounded by 4 pillars (as seen in the picture) with 8 ft. kino bulbs attached to them. I want the key light to be a diffused top light, but controlled so that the field of light only covers roughly the perimeter of the 5'x5' stage. I don't want it to be a broad diffused light from the top that is hitting everything; I'm trying to create pockets of light and pockets of dark for a contrasty feel to the scene, but without super harsh face shadows. I want to see a difference in the light emitting from the quasars on the pillars and the key top light from above, and not spilling into each other. The perimeter of both levels on the standing stage will be lined with small LED strips which are mainly there for show, but may also serve as a slight under fill on the rapper. To achieve this directional, diffused top light, my first thought was to get 2 or 3, 4-bank kino fixtures and replace them with the brighter Quasar bulbs and mount them overhead. I'd cover them with light diffusion silk to soften. Then I'd use a black skirt that matches the perimeter of the stage to try and create a sharper field of light shining down in a more concentrated blast and not spilling everywhere. I assume the longer the skirt hangs, the more directional the light. A light haze will be in the room to show the rays coming down. One concern is that, for the amount of space we have overhead (square footage of lights mounted inside skirt and diffusion should match the 5x5 ft stage) I'm not sure if the diffused, skirted, quasars will be bright enough to get the "large soft, heavenly light ray from above" feel that I'm going for. I'm curious to hear of other ways to get this same type of light. Maybe there's another method that is more efficient? Maybe I should just get 1 x 1200w hmi and blast through diffusion? Pros & Cons? Other methods? I'd like to hear yall's suggestions. Thanks!
  4. Who can tell me about the lighting of this music video? Speceficly what did they use to get that soft white look? It seems like they used a decent amount of haze. Anyone have any info they can share? Thanks! https://www.youtube.com/watch?v=NUC2EQvdzmY
  5. Hello everyone, I need your help. I'm currently a film school student. I will direct a very short film/exercise (one day of prep one day of shooting) in 40 days. So the mood and the set design will be a weird mix between Kubrick films (2001, Clockwork..) and THX 1138, kinda. Anyway we have this 4 by 10 meters set at school, that has no ceiling. But I have one obligation for this exercice/short : only use a 16mm lens (on the Alexa). 10 meter long room, 16mm.. I'd better need something as a ceiling. I'd want something white I could use as a diffusion so that the ceiling would be a giant soft source. So I have two questions for you experienced people : What would you consider for the ceiling (doesn't have to be realistic at all) given a very limited budget. What kind of light could be use above that fake ceiling, to create a high-key look overall (the set will be mostly pure light with some black lines to give some perspective, the costumes black and white as well) (we have tungstenes up to 4K, hmis up to 2.5k I think and kinos) I'll also have some diffused light coming from the walls (I'll remove the windows of the set and place 216 frames instead) Thanks everyone !
  6. Hi! guys. I have recently just made LED fixture to use on my work. Just cost me to make about $160. Output similar to 800W softbox. Made out from RGB ribbon LED and Warm-white ribbon LED. I expected to use WW LEDs at full power but eventually it drags down the color rendition made skintone look off. But the downside : It has multi shadow. solve sometime by using some diffusion sheet. Reason I chose this method. These LEDs are very abundant and very easy to find at cheap. But as you know you can't expect to have excellent color on this either alone. They are just good but I can toss-off for functionality that I gain from this thing. WW LEDs is to make broad spectrum base for skintone. RGB LEDS is to correct portion to matched the sensitivity of the camera. This approach is very similar to Arri L7-C fresnel light which used light engine they called to make tuneable light. While Blue LED have very high energy level. I chose WW LEDs which have high energy in orange green and red part. So I can added by RGB LEDs later to achieve Daylight. MY Goal : - Dimmable - Variable CCT - Green, Magenta shift - Color effect - Rock stady at any shutter speed from top to bottom. - Custom / Preset Switch - WW LED intensity - Red LED intensity - Green LED intensity - Blue LED intensity - On / Off switch Custom / Preset is to switch between selector which will used Pre-tunes trimpots that corresponds to each CCT and the accessible knob that can be customise as your favour. Preset knob is 4 position Selector switch connect to Bunch of Trimpots responsible for each channel. - 5500K Daylight (Tune to closely matched to Kino-Flo color as I have one for evaluate test) - 5000K Daylight (Tune to matched to Philips TL-D 950 Graphica as it have ability to mix very well with natural daylight) - 3200K Tungsten - 2700K Incandescent I just ordered Arduino kits and LCD. Maybe I can bring this into digital control like Kino Flo Celeb line. I just expect to using them without PWM modulation dimming. Here is the test. With Faithful picture style on Canon 60D. 5500K Kino-Flo True-matched Tune. 5500K WB 5000K Tune to Philips Graphica TL-D 950. 5000K WB 3200K Tungsten. 3200K WB 2700K Incandescent. 2700K WB Here are some test. Place like beauty dish. WB : 5500K Canon 550D + 18-55mm ISO 800 28mm F4.0 1/60 e I just sharing my though. Maybe something just wrong approach for using these kind of instrument. But it just worked!!!! quite amazingly. Any suggestions very appreciated. Thank you.
  7. Hi Guys. I'm new to this forum. I'm struggling to light a scene and wondered if you have any suggestions. I have two solutions but neither one seems to be working. Here is the layout of the rooms and action taking place. So the main character walks into a room. Initially the camera sees a darkened room then as the door opens the light sweeps in and spills across the bed revealing the second actor in the bed. He moves towards the chair and sits down before switching on a bedside lamp. Solution 1. Before the door is opened it would be nice to see some of the room in darkness so I put up a soft light at the window (assume shooting at night). Next I placed a nice hard dedo-light so the shadow boundaries are nice and crisp - as the door opens we get a nice spill of light across the bed and the spill goes right across the second characters face - it looks fairly good. The boundary of spill is shown by the grey line. However, as the main actor walks passed the door he ends up being overexposed. Given the room available it isn't really feasible to move the dedo back and scrim it. Solution 2: So this solves the issue of the character being overexposed as he walks past the camera. However the spill in the shot is significantly reduced so that when the door is opened the shadow of the edge of the door only goes across the first part of the bed and doesn't reveal the second characters face. Any suggestions how I could light this? Best Stephen
  8. People talk about soft and hard light but really it is just a gradation between them. How does one measure the hardness of light falling on the subject as opposed to the hardness of the source? Clearly hardness of the source would be measured by calculating the angle between the distance of the source and the size of the source. So the sun would be the Tan-1(Sun Height / Sun Distance) = 0.53 degrees i.e. extremely sharp. A blonde with reflectors 0.1m diameter positioned about 5 meters away from subject would be Tan^-1 (0.1/5) = 1.14 degrees i.e very sharp. A softbox 2m high and 2m from subject would be Tan^-1 (2/2) = 45 degrees i.e. soft However when there are obstacles or diffussion in the way the actual hardness of light falling on the subject is different - so how does one measure this? In some instances the diffuser or diffusion becomes the new source - e.g. a tweenie bounced off a muslin - the muslin is now the source if the muslin is 2 meters away from the subject and 2m high the light falling on the subject now has a hardness of 45 degrees (i.e. soft). But when the sun becomes diffused by haze, mist, fog, cloud covering, etc. the effective sharpness of the shadows surely changes - until it is overcast and then the angle of hardness is 180 degrees - totally diffused and no shadows. I was walking in the countryside on Sunday and the lighting was beautiful. Something I would like to replicate. It was overcast, not heavy overcast and a low sun was diffused through some more whispy clouds. So I took out my Lee swatchbook and observed the colours that surrounded me. I measured the angle at 10 degress, and the shadows to be about 4-5 shows darker than the highlights. But I had no idea how to measure the hardness of the shadows. The clouds were diffusing the sunlight and a rough guess would be 80% if 100% is a perfect sharp line. I presuming the sharpness of the sun is less in winter than in July due to travelling at a lower angle, and hence more diffusion through the atmosphere. Is there a tool for such a thing? Is there a known chart for the hardness of sunlight under various conditions - i.e. December vs July. Does the sharpness actually change between winter and summer due to a lower trajectory and more atmosphere to travel through or only intensities?
  9. Hello everyone, Do you have any info on the Panavision Primo Classic "soft effect" mode? I know it is an optical, variable diffusion effect, but I have yet to see the effect on an image. Any links or screenshots? This function is only available on the 24, 30, 65, 85 and 125mm, and I wonder if it cuts well with the other Primo lenses without the effect. Best,
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