[Vasu]

Fotokem did the work for both the films and Senior colourist Dave cole was supervising the whole process.

[Vasu]

Thanks mate. Will do

[Vasu]

Thanks much david..

[Vasu]

Thanks for the insights david.

Is there any advantages of getting thicker negatives opposed to normal ones ..? Is it mainly for grain structure and contrast..?

One more question is what is the prefereed method to get thicker negatives..? Is by over exposing the negative…? How do you get denser blacks..?

[Vasu]

Thanks Master.  I recently shot a scene where i lit my wides with lights through diffusion may be double diffused for soft light & shadows. For close ups & mid shots i did bounce through muslin. The softness & wrapping of light is very smooth in bounce but while cutting through wides i can clearly the variation in lighting & contrast. I Was not happy with my work. Can You share some insights for lighting up the wide shots through bounce lighting & still not losing the over all contrast.

Thanks master.

[Vasu]

Master Roger. Recently I shot a Scene where I lit my wide shot using muslin bounce  using 4 Sky panels and I flagged it down for controlling the spills on the walls but still ended up losing the over all contrast of the shot. But close up looked good. I tried multiple times & ways to bounce light my wides but still losing my contrast.

 

And one more question is. The Open face & 650’s are warm sources. What should I do if I need day light temp. Other than gelling the tungsten sources

 

Thanks Master.

[Vasu]

Thank You Ricahrd.

 

[Vasu]

Yes. Bounce lighting largely has to deal with space restrictions

 

[Vasu]

This is great. New insight about bounce light

[Vasu]

Thanks for the Insight David Mullen sir. Do we have any calculated distance between the light and the bounce source and from the bounce source to the subject.?

[Author]

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