Forum Replies Created
-
Replies
-
I would only use the 500 stock when I really needed to. I much preferred the lower speed stocks and used both the 100 and 200 Tungsten balanced emulsions. I rarely used the daylight emulsions as I felt they were a little saturated.
I would only set my meter to the rating suggested by Kodak. I would then under or overexpose depending on what effect I was after and where I wanted my exposure to lie relative to the range within the frame. But, either changing the rating or adjusting your exposure after taking a normal reading is basically doing the same thing. Overdeveloping is different. You can change the contrast by doing this, shift the colors and also add grain.
I was placed on the Graphic Design course without having a say in the matter. I wanted to be in Fine Arts and had no intention of being a designer but I did find a passion for photography, so it wasn’t all bad.
I was in the process of testing the Master Prime lenses and I did end up shoot most of the film with them.
I was in the process of testing the Master Prime lenses and I did end up shoot most of the film with them.
I was in the process of testing the Master Prime lenses and I did end up shoot most of the film with them.
The angle of the light to the light to the bounce can alter the size and the shape of the source you create. Whether a lamp is above and rigged to the ceiling or on the floor on a low boy or ‘turtle’ is usually just about space and convenience.
You can double the muslin but it doesn’t make so much difference. The light going through it could be a problem though, and bounce around to interfere with the contrast of the shot.
If I have a series of lamps bouncing off a wide reflector I may, repeat may, dim the lamps to the sides and also warm them up to create a softer fall off and a warmth reaching into the shadow area. I might do that but it is no means necessary.
Whether I gel a light and with what strength of gel in order to maintain color balance is a decision based on the script, the scene and the individual shot. Maybe, you would like the daylight to be blue’ish and the interior lights to be warm. Maybe not.
Looks very good. Regarding that bulb – a small quartz bulb would have looked a little more like a flame. But who is really looking at that. Nice job!
Max,
The photo is interesting! I had forgotten I had this rig on the ceiling. The main lighting was the Par lamps coming through the windows but I did have this rig for any bounce I might need. I used 2K Blondes as I wanted a wide spread of the lamp on the bounce material and, therefore, a very soft source. The lamps were either bouncing off unbleached muslin that was laid on the floor or off 4′ x 4′ sheets. I had this rig, rather than lamps on stands, as there were many so people in the scene and I didn’t want my lighting to get in the way. Besides that, the lamps could aim over the extras and bounce off muslin close to the wall.
In a case like this I will ask for a rig to be put up knowing it might only be necessary for one or two angles or even not at all. But it is better to have it than struggle during the shooting day with lamps on stands.
The depth of field of a 40mm is the same whatever the size of the sensor. With a standard Alexa you would need to shoot on a 32mm (some say wider) to match the field of view of a 40mm on a Large Format camera. A small adjustment to the iris will not change the ‘feel’ of that lens. The additional latitude and resolution of the LF can be an advantage over the standard Alexa but that would not be my main consideration when choosing one camera over the other. The ‘feel’ of the lens is uppermost in my mind.
The ‘Byways’ experience has already been a great success and inspirational for us. We hope to continue with similar events as the one at Deborah’s gallery. Our next will take place in Dallas.
I am not sure you can say that the length of the shot is entirely responsible for an audience understanding a film or not. Content and narrative drives the image rather than the image driving the narrative.
Yes, I was referencing a super 35mm format. On ‘1917’, which we shot on the LF, a 40mm was about the only focal length we used and it was on the camera quite often on ‘Empire of Light’ as well.
We used the Alexa LF on ‘1917’ because we liked the shallow depth of field as well as the increased information it gave us in comparison to the standard Alexa. The S35 did not exist at that time and we only had a look at that camera when we were in prep for ‘Empire’.
To compensate depth of field between the LF and the S35 wouldn’t it require closing down the iris rather than opening it up?
You might want to watch the films of Robert Bresson or Luchino Visconti! There are plenty of films with a similarly controlled camera style but less in contemporary mainstream cinema.
