Tim Sewell

I like Luc, but it does seem that since he started really pushing his paid courses the channel seems to have shifted emphasis from practical stuff to more talking head stuff.

I'm doing a b-roll shoot over lunch today for one of the documentaries I'm making this year (first shoot on this one, so looking forward to it!). I haven't been able to scout the room, which is a recording/rehearsal studio, but I do know that it's very small and that the walls are lined with those acoustic tile thingies. So I'm taking:

1 x tiny Ulanzi 40W bi-colour
2 x RGB wands
2 x Lupo 20W bi-colour Smartpanels
1 x Zhiyun M20 bi-colour
1 x FalconEyes RGB panel
Also a bunch of pipe clamps, spring clamps, 1/4 20 magnet plates etc, plus 2 5-in-1 reflectors, one of them folded out to black.
All battery powered. I probably won't use all of these, but I wanted to give myself some adaptability given that I'm going in near-blind.
The look I'll be gunning for is classic split tone so I'll be setting up a daylight wash with the 40W light and using some of the other lights for warm accents. Camera set to 4300K.
All of this fits in a single standard aluminium photographer's case from which I've stripped the foam, which is good because the camera weighs about 40 tonnes!

I'm doing a b-roll shoot over lunch today for one of the documentaries I'm making this year (first shoot on this one, so looking forward to it!). I haven't been able to scout the room, which is a recording/rehearsal studio, but I do know that it's very small and that the walls are lined with those acoustic tile thingies. So I'm taking:

1 x tiny Ulanzi 40W bi-colour
2 x RGB wands
2 x Lupo 20W bi-colour Smartpanels
1 x Zhiyun M20 bi-colour
1 x FalconEyes RGB panel
Also a bunch of pipe clamps, spring clamps, 1/4 20 magnet plates etc, plus 2 5-in-1 reflectors, one of them folded out to black.
All battery powered. I probably won't use all of these, but I wanted to give myself some adaptability given that I'm going in near-blind.
The look I'll be gunning for is classic split tone so I'll be setting up a daylight wash with the 40W light and using some of the other lights for warm accents. Camera set to 4300K.
All of this fits in a single standard aluminium photographer's case from which I've stripped the foam, which is good because the camera weighs about 40 tonnes!

I like Luc, but it does seem that since he started really pushing his paid courses the channel seems to have shifted emphasis from practical stuff to more talking head stuff.

There's a lot more to the question than just which lights to use.  If you're indoors and feel like you're fighting the sun and if the windows will be mostly out of focus in the background, you can just put ND gel over them - it's fairly cheap and fast.  If they'll be in focus, IMO ND gels look a little bit like shit so that might not be your best option.
If you're outdoors and fighting the sun, especially for close-ups, a collapsible reflector or two (or three if you have one which can give some negative fill) is often a lot better than trying to compete with the sun with your light.  You can get a pretty big reflector for about $30 from almost any photo store in the world.
Otherwise, short of going with really big lights, if you're trying to blast a light through a window and have it compete with the sun, it's going to have to be a pretty big light.  In those cases, I'd probably try to find a way to shoot the scene differently.  😄
These days my main kit consists of 1xAputure 600X, 1xAputure P300C, 1xAmaran 300C, 2xAmaran 150C - as well as the B7C lunchbox, MC4 mini-lunchbox, and a few scattered MX's.  It's more than enough for almost anything that I shoot.  I'll probably continue adding some stuff here and there when Aputure have huge sales (their Black Friday sale is legit - I got a huge discount on the 600X plus a couple of bonus things).  If I need to go bigger than that, I'm more likely to rent it or to just hire a gaffer to roll up with a box truck full of stuff.
For shooting on the go, I just also put together a kit with 3xStellaPro's with their Bowen mount - they're tiny and run off of USB-C so I can plug 'em into a V mount plate or even a battery bank.  Only disadvantage?  Above 30% or so, the fan runs constantly.  I'm excited to actually do a shoot with 'em.  I also picked up a Molus X100 for the cases where I want somebody to hand hold a light.  It's alright, but the reflector in the Bowens mount seems to do some funky things with my softboxes.
 

My big light is the Smallrig 450D. I love it. It's well-built and super bright when I need it. That said, most of the time the brightest lights I need are 300w. 

I've seen quite a few 1200 and 2400 fixtures in use on various DP YT channels, but really only when the spaces that need to be lit are on the bigger side. And they're pretty big old units, needing heavier duty stands etc and in a lot of cases no longer having Bowens mounts. You're really getting into van territory so I'd expect these bigger LEDs to be much more of a hire item than something you'd carry around in your daily kit as an owner-op.

I've seen quite a few 1200 and 2400 fixtures in use on various DP YT channels, but really only when the spaces that need to be lit are on the bigger side. And they're pretty big old units, needing heavier duty stands etc and in a lot of cases no longer having Bowens mounts. You're really getting into van territory so I'd expect these bigger LEDs to be much more of a hire item than something you'd carry around in your daily kit as an owner-op.

I recently bought one of these (the daylight version) and am soon to get the bi-colour. I don't have the tools to test the metrics, but they're extremely bright and reasonably quiet. https://www.ebay.co.uk/itm/385671087101?itmmeta=01HWMW3M2R3J7XYR6MXF4WNV52&hash=item59cbc9c3fd:g:GeQAAOSw4f5kgv5S&itmprp=enc%3AAQAJAAAAwFc8zK2w7uAzhpc1h248S6jNA5Gw%2FYnu0N1Oh9zktYieBDQ0XN3Y2S1YLVVfrVCJwMOe%2FWIN8QX%2F1Y6qh%2BuG964LZb8IkftuUcmkq%2Bxo6n1YRp%2BuqoPgcv84%2BMzIWIWVd3SNpq4mnPPPWRlsiCOiPNsl84vGLEZ4S51kzT17vRYoFI5EpvbRtTDEWvTvpSYVdxv4DenaLzgf0W37yPC5B%2FiZ3bP6%2BKW2Dm6iDH7x2H7AFj9ubifexmkIp5%2B%2FQ8Cxxg%3D%3D|tkp%3ABk9SR7rBjpzlYw

This is a UK link, but I think they're available in most markets.

I bought FilmConvert years ago but balked at paying for Dehancer. And yes, of course you could do subtractive sat before now, but nowhere near as easily as slices and FLC make it.

I was given a free temporary license of Dehancer to do a review for them and they said I would receive a free permanent license upon finishing the review (whether I gave it a positive or negative review).  I tried it and declined to continue.  If you already have a Nitrate license from FilmConvert, you're in the right place.  Dehancer did a few things better and could make a pretty nice starting point for an image, but the output colors in many cases didn't actually match the film that it claimed to be emulating (like not even close with Velvia 50) - and their answers for why made no sense at all.

Good evening to all !!

Here is my very first try with handle hand video with my a7iv using Gyroflow.

I didnt go up at shutterspeed like 1/200 like other users said to avoid blur here and there

and the results at some cases didnt go well.

But for the first time i use it , i thing is a very powerful tool !

So , here is my pride, the Tenere 700 with a recent change in full body exhaust, filter and program.

+5.5 horses that didn't spoil us at all!

The sound from the camera does not accurately reflect the sound of the exhaust, but what did we do!
 

When I did the music video for that band a couple of months ago - it was a nightmare, but at the same time had me thinking - this just feels so right and so much what I want to spend my time doing. If only I didn't have to make a living!

Script and partial shortlist written. Ready for action tomorrow night when wife is out, so hopefully no interruptions!

It’s also an ‘updated’ film noire approach for the 2020’s.
There’s also a nod I think to Wes Anderson, but not in a comedic way and almost every single frame is a like a work of art.
The locations, the lighting, the framing, how one frame leads in to another…
My kind of filmmaking.

And the utter lack of it has me admiring Ripley on Netflix right now.
I’m partly thinking the Amalfi coast should be in colour, but the rest is definitely working for me as a B&W production.
Of course it would look shite if the coastal stuff was colour whilst the rest was B&W but chapeau on this 8 parter, I think it’s great.
Sorry it’s not a Joker II comment 😛

That sounds great!
Having two people instead of one would be an incredible advantage and time saver.  I've tried to film myself for camera tests enough to know that it's almost impossible to frame and focus and expose correctly when you're the one in the frame!!
Also, what about Resolve 19 are you excited about?

Making a film is one of the hardest things I've ever attempted... especially in a DIY, low/no budget space... but it's also one of the most exhilarating experiences I've ever had... even if ai haven't been successful with finishing the film...
Yet. 

Film Look Creator all day long! Slices seem cool too. Only trouble is that render cache seems a bit borked in the beta - where I was previously getting real-time playback it seems to be falling over a bit.
You?

So there's a guy who lives near me - young guy, good looking - who 2 years ago gave up a film-making degree at a London university (can't remember which one - but a good one, I can remember thinking when he told me) to go on the tools with his dad, because he couldn't see any way that an expensive 3 year course was ever gong to wash its face.

Was talking to his sister this evening and she reckons he'd be totally up for getting involved in my short. Which could mean I've either got talent that isn't me, or a camera op that isn't me. Either way, it suddenly makes this project a whole lot easier.
(Not to mention Resolve 19 - which changes the space entirely!)

So there's a guy who lives near me - young guy, good looking - who 2 years ago gave up a film-making degree at a London university (can't remember which one - but a good one, I can remember thinking when he told me) to go on the tools with his dad, because he couldn't see any way that an expensive 3 year course was ever gong to wash its face.

Was talking to his sister this evening and she reckons he'd be totally up for getting involved in my short. Which could mean I've either got talent that isn't me, or a camera op that isn't me. Either way, it suddenly makes this project a whole lot easier.
(Not to mention Resolve 19 - which changes the space entirely!)

So there's a guy who lives near me - young guy, good looking - who 2 years ago gave up a film-making degree at a London university (can't remember which one - but a good one, I can remember thinking when he told me) to go on the tools with his dad, because he couldn't see any way that an expensive 3 year course was ever gong to wash its face.

Was talking to his sister this evening and she reckons he'd be totally up for getting involved in my short. Which could mean I've either got talent that isn't me, or a camera op that isn't me. Either way, it suddenly makes this project a whole lot easier.
(Not to mention Resolve 19 - which changes the space entirely!)

It’s not just because the B&W makes it ‘arty’.
The script is great, taking what was originally a book, then a French film, then the well known Matt Damon movie and now an 8x near 1 hour episode series.
The acting is great.
The cinematography IMO is superb.
I have zero criticisms of it and that is rare for me.

Actually unreservedly loved it. I'm finding that I'm gradually getting further and further away from preferring verite/realistic looks and getting into the wilder end of things!

I highly recommend going to the source if you're interested in going deeper, here are a couple of interviews with Jill on Joker that I found to be fascinating and thought-provoking:
...and this interview with Jill on John Wick and other films where they even talk about specific shots etc:
Lots of info out there if you search and go looking for it 🙂