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Film, Art, Design, Transmedia, Culture and Education
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Rescooped by Jonathan Rattray Clark from DSLR video and Photography
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Fiilex behind the scenes video 01

Patrick McGinley is shooting portraits of the Shelf Life mini series, Patrick is testing the Fiilex P360 LED light and the P200 Flexjet FIber optic illuminator.

Via UnitedByPhotography
Jonathan Rattray Clark's insight:

Tool testing

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UnitedByPhotography's curator insight, January 29, 2013 12:03 AM

Some brilliant LED attachment and fibre optic ones as well featured, really pusing light technology, exposure, image and production.

Rescooped by Jonathan Rattray Clark from Digital Cinema Tools
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How to Light for Specific Camera Blocking: Master to Close-Up for Filmmakers, by Shane Hurlbut ASC

How to Light for Specific Camera Blocking: Master to Close-Up for Filmmakers, by Shane Hurlbut ASC | Film, Art, Design, Transmedia, Culture and Education | Scoop.it

Posted by Shane Hurlbut ASC on November 1, 2012

 

(...) “Don’t Be Afraid of Hard Light”

I believe we all have gotten a little overindulgent in the use of soft light because we think, “I want it to feel natural”; “I want it to feel like ambient light, not lit”; “I want to go with available light.” I have heard many of these descriptions. It is your job as a cinematographer to translate that into a lighting language that will deliver exactly what the director wants. His or her description doesn’t always mean soft light. What about the illusion of soft light, while you are using a harder source? Herb Ritts used hard light to his advantage in so many ways. Conrad Hall was a big hard light user as well. I love hard light just as much as I love soft. There is a time and a place for both. What hard light does is to give you lighting control on master shots."

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hurlbutvisuals.com


Via Thierry Saint-Paul
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