Jump to content


Fantastic mood ....Akeelah and the bee!


  • Please log in to reply
5 replies to this topic

#1 rajavel

rajavel
  • Guests

Posted 15 August 2006 - 09:09 AM

hi David
i was looking thro the images from Akeelah and the bee.....the lady in sofa....with a lit cigarette...fantastic mood.....http://www.imdb.com/gallery/ss/0437800/03_72dpi.jpg?path=gallery&path_key=0437800&seq=30

how did u achieve that....what was ur lighting diagram like for this...what stock....and it will be great if u remember and if u share with me....(for my learning)....what the 'light meter reading' was and what 'exposure' did u set actually to get that mood!!
did u spot read that.....BG blinder?
it will be a good learning for me.....thanks. cheers!
rajavel


have u mixed warm and cool light for this?
rajavel
  • 0

#2 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19759 posts
  • Cinematographer
  • Los Angeles

Posted 15 August 2006 - 10:52 AM

That still was shot by the stills person, probably on a digital camera, unfiltered. The scene itself was shot in 35mm anamorphic using Vision-2 250D 5205, rated at 160 ASA, with a #1 GlimmerGlass filter. However, the digital still is pretty accurate to the look of the scene.

I believe there was a 4K or 2.5K HMI with 1/4 CTO on the right coming through one window hard as a backlight, then on the left was a soft backlight from a large HMI through a large frame of diffusion (don't recall, could have been a 6K or 18K through a 8'x8' frame of Lt. Grid Cloth -- this light mattered more in the wide shot of the room.) And then her face was keyed/filled with a Kino Wall-O-Lite I believe coming from frame left. I took this wider digital snapshot here:

Posted Image
  • 0

#3 Arni Heimir

Arni Heimir
  • Basic Members
  • PipPipPipPip
  • 326 posts
  • Other
  • Reykjavik/Barcelona

Posted 15 August 2006 - 11:07 AM

That still was shot by the stills person, probably on a digital camera, unfiltered. The scene itself was shot in 35mm anamorphic using Vision-2 250D 5205, rated at 160 ASA, with a #1 GlimmerGlass filter. However, the digital still is pretty accurate to the look of the scene.

I believe there was a 4K or 2.5K HMI with 1/4 CTO on the right coming through one window hard as a backlight, then on the left was a soft backlight from a large HMI through a large frame of diffusion (don't recall, could have been a 6K or 18K through a 8'x8' frame of Lt. Grid Cloth -- this light mattered more in the wide shot of the room.) And then her face was keyed/filled with a Kino Wall-O-Lite I believe coming from frame left. I took this wider digital snapshot here:

Posted Image


David,

You don't happen to have a close up still of panavision close focus primo? I haven't seen one. Are they as large as people say?
  • 0

#4 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19759 posts
  • Cinematographer
  • Los Angeles

Posted 15 August 2006 - 12:21 PM

The close-focus versions of the Primo anamorphics are the same size as the regular Primo anamorphics, that is, they are huge. A 50mm Primo anamorphic (the largest lens) is about the size & weight of Cooke zoom.
  • 0

#5 rajavel

rajavel
  • Guests

Posted 16 August 2006 - 04:06 AM

oh thanks david for the behind the scene stuff......
in the wide shot that u had posted ...the fill is less on her face.....whereas fill is more
on the close up....how do u really match the shots?!!
thanks david
cheers!
  • 0

#6 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19759 posts
  • Cinematographer
  • Los Angeles

Posted 16 August 2006 - 12:23 PM

oh thanks david for the behind the scene stuff......
in the wide shot that u had posted ...the fill is less on her face.....whereas fill is more
on the close up....how do u really match the shots?!!
thanks david
cheers!


These are two different digital still snap shots taken by two different photographers and timed in Photoshop two different ways -- of course they don't match! The lighting on the close-up didn't really change much from the master (I think I just pushed the Kino Wall-O-Lite a little closer to soften the effect, then darkened it back to the same level as the master.)

When the DVD comes out you can compare the wide and tighter coverage from the actual movie.
  • 0


Opal

Rig Wheels Passport

Tai Audio

Visual Products

The Slider

Gamma Ray Digital Inc

Paralinx LLC

Willys Widgets

Wooden Camera

CineLab

Technodolly

Metropolis Post

CineTape

Glidecam

rebotnix Technologies

Abel Cine

Broadcast Solutions Inc

FJS International, LLC

Ritter Battery

Media Blackout - Custom Cables and AKS

Aerial Filmworks

Abel Cine

Aerial Filmworks

The Slider

Metropolis Post

rebotnix Technologies

Technodolly

Willys Widgets

Glidecam

Gamma Ray Digital Inc

Paralinx LLC

Opal

Wooden Camera

Media Blackout - Custom Cables and AKS

Broadcast Solutions Inc

Rig Wheels Passport

Visual Products

CineTape

Ritter Battery

Tai Audio

FJS International, LLC

CineLab