The first 2 posts of DPs and Gaffers have been very popular, with many people saying it was helpful, so I am continuing the series. So here is part 3 from the seminar with DPs and gaffers, held at Camerimage 2012 in collaboration with my friends at K5600 Lighting.
In Part 1, the panel discussed who does what, and the difference between the American & European systems. In Part 2, they discussed the lighting list.
Here the subject is the rag list.
The panelists: gaffer James Plannette, gaffer Reuben Garrett, best boy Matthew Butler
Vilmos Zsigmond, ASC, Michel Abramowicz, AFC, and moderator Benjamin B
1. the panel
The panel included 2 cinematographers, 2 gaffers and a best boy:
-- Vilmos Zsigmond, ASC - cinematographer
-- James Plannette - gaffer
-- Michel Abramowicz, AFC - cinematographer
-- Reuben Garrett - gaffer
-- Matthew Butler - best boy
The event was initiated by Marc Galerne of K5600 Lighting, with the additional support of Jacques Delacoux of Transvideo. The video was shot by young cinematographer Eloi Rimmelspacher. I did the editing.
2. the rag list
The cinematographers, gaffers and best boy discuss their rag list.
Rags include any materials that are used to either diffuse, bounce or block light.
In this discussion the panelists focus on materials for diffusion and bounce.
watch on YouTube
- James details a rag list of diffusion and color gels.
- Reuben adds T-bars and cloths to the mix.
- Michel mentions Benoît Delhomme's unusual bounce.
- A young cinematographer asks about diffusion
- Vilmos stresses importance of stop
- James describes 2 options of softer and harder sources
- Matthew stresses importance of records
- Reuben emphasizes simplicity
Gaffer Reuben Garrett
Michel Abramowicz, AFC
The seminar and videos are dedicated to the memory of Gilles Galerne.
In Part 4, we discuss Digital
thefilmbook: DPs and Gaffers - 1. Who Does What
thefilmbook: DPs and Gaffers - 2. The Lighting List
thefilmbook: DPs and Gaffers - 3. The Rag List
thefilmbook: DPs and Gaffers - 4. Digital
thefilmbook: DPs and Gaffers - 5. Hard Light - Fresnel vs PAR