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[au]

Hello Roger, hope your doing good!

I have few of questions regarding the plane scene of Unbroken.

According to your first lighting diagram, the space lights were gelled with 1/2 BWE and 251. Do you remember if you did gel them at the end? If yes, why did you gel the top lights but not blondies and the redheads? Do you remember if you did set the camera to 3200k?

This one below is another image which I can’t fully understand. Let’s say the camera was rated 3200k, the blondies and the redhead had no gels and the top lights was with 1/2 CTB, did you bounce something with a temperature around 4300K in order to get this natural colder feeling?

Thank you!

Ale

 

 

[StuGilmartin]

Hi, really sorry if people can see my replies and if they have been posted numerous times, on my end they don’t seem to be posting/showing.

Hi, thanks I actually meant to post  a bit more info but was doing it on my phone and somehow it only posted the two images.

I knew the sun would be behind that building all day so we parked in the shade. So used the building as a flag sort of.
we put a black out curtain over the back of the car when we were shooting the two shot from the rear.

For the close ups we bounced a 1.2k Arri Sun into a white Poly back through the front window. We didn’t have much of a budget so we did the best with what we had.

For rain.. Well it’s Scotland. it always rains haha. Nah we knew it would be a rainy day and for the most part the weather gave us rain when we needed it and held off when we wanted it dry, The sun did come out in the afternoon but right before we shot the final angle the cloud covered it and gave us a shower

Shot it on a RED Helium with Cooke S4’s the images aren’t final looks but happy to take feedback on our set up and or the images.

[simon m]

Not Roger, and I have no experience with this kind of scene myself, but on the old forum Roger explained a fairly simple lighting setup for this scene in ‘True Grit’. I believe he used a couple of small lights to augment the fire, which were dimmed down, plus a flicker machine. Don’t know how wide you’re planning on shooting but here are a couple of stills from that scene.

[simoncarlkoeber]

Thank you so much, Max and Roger, for your incredibly kind replies. I soaked all of that in and it is very helpful to me. Especially what you said about working with the actors, Roger, and about working with your crew, Max.
And Max, it helps a lot to know that I’m not the only starting out on a full scale production without going to film school! 😀 That is a bit calming.

I will keep you guys updated on how it went one year from now!
(pbb I will ask more questions in the meantime though)

[DPCole]

I’m shooting a short western in a couple of weeks and am looking for advice in the face of budget cuts.

 

Initially, I was planning on using two molefays (9-light 650-watt par globes), but due to budget cuts, I can’t afford the generators to power them. Initially, I was going to push them through a 4×4 of ½ ctb, and a 12×12 frame of lite grid or half soft frost and balance the camera to 3200k. The Molefays were ideal because the can throw a lot of light quite far.

 

My main option that works with the budget is to use two Joker2 1600-watt HMI’s to light this wide night exterior around a campfire. We’re using a practical fire as the key, and supplementing any additional light for the fire with an LED with a fire effect. My main concern is that I’ll be under-exposed or have to sacrifice my frame or desired quality of light for the wides to achieve an f/2.8, which is wide open for the lens set. I thought to shoot one joker through the trees without any diffusion to maximize the throw of exposure, edge the trees, and give shape to the background, so it isn’t just dark. For the other Joker, I would go through half soft frost to light the background closer to talent and give a soft edge on the actors. My main goal with the HMI’s is to light the area and not the talent.

 

Do you think I should use both HMI’s bare of diffusion and go for harsh moonlight? Should I get one Molefay (Affordable at slight sacrifice) and use that through a 12×12 silk, or as a harsh source? Will the fire beat the HMI in intensity? Any other additional suggestions on how to approach this?

 

I’d appreciate any feedback or opinions on this!

[Stip]

Your approach was totally normal. Sounds like a guy to stay away from in a collaborative environment like filmmaking. Even if he was right (which he apparently was not), the way he handled the situation is an immediate red flag. In my experience, these people are not only a toxic factor to an already stressful process, but often actually lack skills and try to mask it with such behavior.

[StuGilmartin]

Interesting, as a gaffer maybe you could give me your thoughts on this.

I recently was on a shoot, had talked with the director and we’d figured out a look and I’d come up with a basic lighting plan. I was still to meet the Gaffer. When we finally did get the chance to meet immediately he was annoyed I had a lighting plan and spent most of the time trying to convince me the look I was going for was wrong.

The plan in my head was a rough idea of how we’d visualised the shot but I was quite happy to defer to the Gaffers expertise to improve upon or suggest better options not to crap all over the plan and threaten to walk unless we gave him complete control of the lighting.

I asked him to show me what he was thinking so he started putting lights and stuff in place, and while it was very nice. Both myself and the director didn’t like the look as it wasn’t fitting with the style we were going for on this particular production.

He then quit, I ended up lighting it myself. The whole process was a massive waste of time.

I’d be curious as to another Gaffers opinion and other DOP’s because it was the first time I was challenged this way and as working with Gaffer’s was/is relatively new to me I am curious to know Was I in the wrong for having a look/mood I wanted to achieve and a basic plan for doing so?

I eagerly await peoples thoughts.

[samdavidzhang]

Hi Roger and community,

I am currently doing a research paper for my school, and I am tasked with answering the question: “Reading the film stock curve and selecting a stock based on their color & contrast representation.”

I’ve done some preliminary research into the subject, reading Kodak’s Sensitometry Workbook along with a handful of film manuals at the library, and have interpreted the essay prompt as “How can the characteristic curve and spectral-sensitivity chart inform a decision on how a film stock will perform?”

I decently understand the concepts of contrast/gamma, how to feel out latitude of a stock from a quick glance at its D logE cuve, and the differences in sensitometry between reversal and negative stocks.

However, I wanted to reach out to the community and ask any cinematographer who has worked a lot with film – or is currently working with film on a show – how reading the spec sheet has informed your decision on a film stock. What did you do with the information? How has it led to your testing phase? Is it even important in the end versus real life testing?

In addition, I had one technical question that deals with the RGB curves in the D logE chart when it comes to normal process vs push/pull process.

As an example, let’s take a look at Kodak 200T listed at this pdf link below:

https://www.kodak.com/content/products-brochures/Film/VISION-200T-Sellsheet_US_4PG-EN.pdf

In the contrast curve (named “sensitometric curve”), it appears that Blue and Green curves are slightly steeper when compared to the Red curve. I want to confirm that this means the gamma of the individual channels for blue and green are higher, meaning there is “higher contrast in those colors.” Practically, this means that I can expect more Blues and Greens as exposure go up into the highlights, versus the shadows?

Furthermore, say I push this stock by 1-stop. If I charted the resulting sensitometric curve of the developed negative, the toe would remain the same… but the shoulder would be lifted by that 1-stop compensation. Does this 1-stop push get evenly spread across the RGB channels? If so, does that means the steeper gammas of Blue/Green compared with the Red channel becomes even more exaggerated? In theory, I would expect some more blue/green in the highlights?

Please let me know if I have this concept wrong. Also, would love to hear any of your personal experiences or thoughts on this topic as a whole.

 

Thank you

Sam

[Matt Stahley]

While its not FF the Panasonic GH6 has open gate 5.8k.

[GianniRanzuglia]

Wow that’s so cool. Thank you for sharing Simon!

It’s crazy to see the amount of solids, stands, and bounce that was used for a scene that looks like it had no lighting or rigging work.

[gcconnelly]

Hi Roger!

I was curious about your thought process when it comes to picking an aspect ratio for a film. Why, for instance, did you choose a 1.78 ratio for “Prisoners” and “A Serious Man,” while going with 2.39 for “Sicario” and 2.35 for “No Country for Old Men?” Do you feel like there are advantages one aspect ratio gives over the other?

I was also curious how you feel about the increasingly popular 2:1 ratio.

 

[GianniRanzuglia]

Roger Deakins wrote:

I can’t imagine a 2K being effective. It also seems you might need to control the natural light so that it does not overwhelm any source you use. I would expect to use an Arri Max for this kind of effect or, at least a powerful HMI Par.

Thank you for your reply Sir!

I’ll keep those lights in mind when we do a prelight day.

Thanks for your time.

[Stip]

Roger, I will direct my first feature next year and this advice is great for me as well. Thank you and James very much for sharing your knowledge so patiently with us here.

[TimoVanLierop]

Our biggest challenge was the first feature film I worked on. The timeperiod was about 1785, so the only motivation for lighting was the sun, the moon and candles.

All these sources are a hard light source in the first place. And because they didn’t have other lightsources it was hard to motivate some scenes.

And it was also a very very low budget production, so there wasn’t any real budget for gear. But we had some Aputure lights like: Nova’s, 600D/X’s, tubes, small bi color spots. The Bi-Color was very usefull because all the candle light motivation was very warm.

[Roger Deakins]

That is good advice. The job is stressful and it must be stressful. I find the job only becomes ever more so as you try for a perfection that is unattainable.

Allow others to feel involved in your process even if, in the end, you make all the decisions. Create a quiet and welcoming place for the actors. Without them you have nothing.

• This reply was modified 2 years, 12 months ago by Roger Deakins.