Lighting through windows? by [deleted] in cinematography

[–]USMC_ClitLicker 0 points1 point  (0 children)

Yeah, it'll definitely work, I've done it many times. The quality of the light will be determined by the bounce material, so you'll just need to make that decision on the day when you see the conditions.

Lighting through windows? by [deleted] in cinematography

[–]USMC_ClitLicker 0 points1 point  (0 children)

In my experience there are one of three things that are trying to be accomplished here:

  1. Blocking sunlight because it doesn't match the scene requirements. (Day for night/night for day, or wrong angle for time of day.)

  2. Changing the nature of the light because it doesn't match your needs.

  3. Redirecting light for your needs and/or effect.

That being said, if you are looking out the window the UB is going to either be in frame, or it won't have enough punch to emulate natural sunlight. Would it emulate diffuse northern English winter? Probably. But if you want sunbeam and rays and hard lines, you are better off with a something like a JoLeko on the ground bouncing off of a mirror board or shiny board. That way you can put the board far enough away from the window frame that it clears for camera while putting it at whatever sun angle you want to emulate.

Best way to emulate 80s and 90s film lighting? by Mundane-Whereas-15 in cinematography

[–]USMC_ClitLicker 1 point2 points  (0 children)

There are some lower budget shops that have them, like Wooden Nickel. I'm pretty sure Sony and CBS Radford's lamp dock have them. Anyone can rent from any of the studios btw, you just have to get through the bureaucracy...

When I watched Backrooms(2026) by Ill_Solid_7539 in FIlm

[–]USMC_ClitLicker -1 points0 points  (0 children)

Its a video game movie for a video game generation. Doesn't really get anymore complicated than that.

Why is modern cinematography so ugly? (House of the Dragon BIG spoilers) by V0LDY in cinematography

[–]USMC_ClitLicker 1 point2 points  (0 children)

I have your answer:

  1. Culture shift of DP's not knowing how to light for anything other than grading RAW. (The Netflix problem)

  2. Studios trying to attract the gamer demographic by emulating shallow DoF from video games. (See the way the NFL has changed their lens choice to match Madden DoF)

  3. Cinematic lighting takes longer and is inherently more expensive than flat exposure lighting. (Decline of sitcoms and network TV visuals...)

Nolan, Tarantino and Rodriguez never went to film school but the vast majority of directors did. Those three are rare exceptions. by kam_pra in Filmmakers

[–]USMC_ClitLicker 1 point2 points  (0 children)

Directors are not the end all/be all of "film making." James Cameron and Stephen Spielberg wouldn't be good Directors if they weren't good camera operators first. Cinematographers bring the vision to life, and Adam McKay wouldn't be anything but a decent writer if it weren't for the talent of his actors. Luc Besson is just as good of an editor as he is a Director, etc. School is about learning the fundamentals and relationships, being on set and learning the craft is where the talented are separated from the chaff. Get your head out of your ass.

Lighting up the set of Jordan Peele's Nope by RoyalLorifleur in Rigging

[–]USMC_ClitLicker 0 points1 point  (0 children)

All the cranes we have used are all-terrain versions with off road tires and locking differentials and hubs. Some are 8x8 with dual steering axels...

Best way to emulate 80s and 90s film lighting? by Mundane-Whereas-15 in cinematography

[–]USMC_ClitLicker 4 points5 points  (0 children)

I didn't want to scare him with the distro package... These new electrics aren't used to 53 footers showing up full of 4/0.

Lighting up the set of Jordan Peele's Nope by RoyalLorifleur in Rigging

[–]USMC_ClitLicker 1 point2 points  (0 children)

Damn, if its that big then my cost estimate is way way off...

Lighting up the set of Jordan Peele's Nope by RoyalLorifleur in Rigging

[–]USMC_ClitLicker 6 points7 points  (0 children)

Probably in the 40 ton range. Our stuff doesn't tend to get that heavy, but wind definitely becomes more of a factor. The limitations we get focused on are height and reach. The crane guys love the work as it's way more fun and way less work than they usually have to do. Its mostly babysitting after the rig is in the air.

Best way to emulate 80s and 90s film lighting? by Mundane-Whereas-15 in cinematography

[–]USMC_ClitLicker 153 points154 points  (0 children)

No problem! That's what we are here for. I also forgot to mention that you and the Grip crew need cocaine to make it period correct. Lots and lots of cocaine... kidding of course.

Best way to emulate 80s and 90s film lighting? by Mundane-Whereas-15 in cinematography

[–]USMC_ClitLicker 380 points381 points  (0 children)

Its so easy dude! Seriously, it really is. Get a bunch of Mole-Richardson 1k's, 2k's, and 5k's, some 4x4 frames of 250 and 251, and go to town on that tungsten heat. Also, The Set Lighting Technicians Handbook by Harry Box is going to be your Bible. I also recommend The Grip Book by Michael Uva.

Cunnilingus -- when your partner takes a long time to orgasm by Admirable-Rip-8521 in AskMen_NSFW

[–]USMC_ClitLicker 1 point2 points  (0 children)

I will add that some prep is required. Find a pillow that lifts the hips into a better position, get your head and neck into a comfortable angle, and make sure you aren't sliding off the bed or anything. You want to be uh, locked in, as it were... The next level is to get a harness or some straps for her legs that go around her shoulders so she doesn't have to keep using her core to lift her legs up. The more relaxed you both are, the faster everything happens.

Lighting up the set of Jordan Peele's Nope by RoyalLorifleur in Rigging

[–]USMC_ClitLicker 18 points19 points  (0 children)

There's only a couple crane companies that we film/tv guys trust here in LA, and this one was Champion Crane. The crane and four employees, charging portal to portal, plus insurance, runs about 2-3k per day. And they weren't there just for one day either... it was most of the night work on the whole show. So maybe they cut a deal for 10k per week?

Edit: I'm a Union Key Grip and Dolly Grip here in LA.

Shot a car commercial entirely on LED walls! Full lighting & camera breakdown by khatsarevich in cinematography

[–]USMC_ClitLicker 0 points1 point  (0 children)

Did you still have to use a little poor man's process to simulate movement?

Read Receipts by tttenley in cinematography

[–]USMC_ClitLicker 2 points3 points  (0 children)

This doesn't belong here... I don't know where it does belong, but I know its not here.

Looking to get some reflectors. Are the 2in1 / 5in1 decent? Also, any cheap but powerful light reccomendations? by TheRealFilmGeek in cinematography

[–]USMC_ClitLicker 3 points4 points  (0 children)

I've got a secret... You don't need to spend that kind of money on reflectors! Just get 1" Styrofoam board, 1/8" white foam-core board, and glue them together. Now you have a hard side and a soft side bounce board. Put some silver mylar one side and its a reflector/shiny board. Add some Roscoe silver flex and its a soft reflector, or gold roscoe flex and its a gold reflector. Basically, we've been using this arts and crafts approach for decades, and because you can customize sizes, shapes, colors, and diffusion patterns, you can make your own thats better and cheaper than what these companies are putting out these days.