Forum Replies Created
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Vanniyan if you search on Google for these words: Robin Barton beam angle calculator, you can find a page with a calculator of two scenarios, and roughly you will have an idea of the area that the beam angle cover at a certain distance (and a height).
But, in my opinion, you have to consider the diffusion that you would to use because, in my opinion, could alter your final beam angle and so the whole area that you will cover with your light.
About the conversion FootCandle/Lux to exposure, Mr. Deakins tells you that if you want to expose an aperture of T2.8 at 800ISO 180° ShutterAngle you need something like 12.5FC. With this in mind, you can consider if the amount of FC/Lux that you will have in your action area is enough to expose what you want to expose (If you want to shoot at T2 for example you need the half of FC because you open your lens by a STOP but if you want to shoot your scene at T4 you need the double of 12.5FC).
As I said before, this is what I think should be, but there are masters and legends on this forum like Mr. Deakins and Mr. Mullen that can be more precise than me.
I hope this can help you.
I wish you a nice day,
Max.
I would also share with you what I think is a powerful source and tool that helps to calculate beam angle/cover area/distance, height etc.:
Search on Google: Robin Barton beam angle calculator
Just for fun, I will try to do this calculation based on your situation, just to train my mind and also since I haven’t “DP” something in a long time (Lol but also sad😅).
As you probably already know, the photometric specs are without any diffusion in front of the lamp, and the light drop of your source will depend on how thick the diffusion is.
The same is applied, I think for the “spread”, a thick diffusion will spread the light more, basically changing the “beam” angle of your original source.Of course, like you, I will wait for an eventual answer from Mr. Deakins that are way more experienced and talented than me in this kind of situation so I can learn from his words.
As I said before I’m only trying to train myself and my brain for a tricky but interesting lighting situation like yours so don’t be severe with me 😁.If I can ask myself a question to Mr. Deakins or whoever knows the answer. If we have a lamp at a distance of 100′ but a height of 120′. At this point should we have to calculate the falloff based on the furthest point? I don’t think it’s possible that the fall is somehow “added” between the two distances.
Apologize for my bad English,
Max.It seems I can’t able to post a reply with a link to a tool to calculate beam angle/distance.
I will retry soon.Hello Vanniyan,
Here is the photometric chart of the M40
I hope this can help.
I wish you a nice day.
Max.Thank you very much for your reply Mr. Deakins.
So for sure at this point, it’s a slight shift due to the YouTube “compression” that boosts a bit the green tonality in the highlight more than the “normal”.
As you said, it is one green or the other one magenta? 😁 it’s a fine line.
Thank you again for your reply and your kindness as usual.
I wish you a peaceful day,
Max.Hello Luca,
If you double the amount of light (lux/fc) you will obtain a stop of increment in your light measurement so you have to “compensate” with your “triangle” or nd.
But I waiting for an answer of DP’s more expert than me.
Have a nice weekend.
Max.
Thank you so much for your reply and clarification Mr. Deakins. As usual thank you again for your time, your patience, and your availability to share your experiences and knowledge. It is fantastic.
I wish you a peaceful Sunday,
Max.
Thank you so much for your reply Mr. Deakins. It is always fantastic to read your answers!
If I can ask some more questions, did you have the solid inside the two cafés as a negative fill or did you use solids outside the cafés and outside frames to control the light that comes inside?
For the “first” café scene, your two LEDs bounced off the ceiling are pointed over the table, or were just pointed up “straight” to the ceiling at either side of the table? In the close-ups, that warm “fill” that is in the shadows comes from the practical overhead light (the spheric one) that is in the Cafè? It was part of the location or it was your choice with production design to have an “omnidirectional” light there?I love the natural feel of the whole movie but with beauty and elegance that always sets you apart.
Thank you so much again for your reply Mr. Deakins and I wish you a peaceful weekend,
Max.The second Cafè scene has a table dialogue between ‘Hilary’ and ‘Stephen’. Also in this scene, the placement of the table is against big windows with a shape (which seems like the top part of a pentagon) that “wraps all the subjects in the frame” with an overcast day and seems to me, without other lights inside the room.
For the wide shot, did you use lamps from outside (the side windows out of frame) to bring in more light or it is just the natural indirect light that comes from outside?
For close-ups (OTSs and MCUs) did you use bounce lights from outside or some bounce material without lights from inside to wrap more of the faces?Both Cafè scenes have a natural feel that makes “invisible” your “intervention” and this is the most difficult part I think.
Sometimes I feel that just a single small light (direct or indirect) can destroy the natural feel of a scene and appear “present” and of course “unnatural” and for this reason, I just would like to ask you (and maybe learn a lesson) how you approached these two scenes in terms of light in order result “invisible” to the audience.As always I want to thank you for your time and your availability Mr. Deakins. Reading from you and from your experience is priceless.
I wish you a peaceful day,
Max.Thank you so much for your reply Mr. Deakins, reading from you is priceless for me!
The mood and the colors of the scene are outstanding. I love also the fact that ‘Hilary’ is sitting against the blue window, while ‘Stephen’ is against the yellow one, this reflects to me pretty well the two characters.If I can ask and if you remember, which focal lengths did you use for this scene, and what was your consideration for that kind of choice in terms of camera proximity to the actors etc..
I know I’m asking a lot of questions, but reading your experience and your point of view about lighting and filmmaking is a unique experience.
I wish you a peaceful day,
Max.
