Cinemills

06/21/2022

Reposted from .iamhalsey 🎶One of these things is not like the other...

06/09/2022

⚡️They have arrived!⚡️
Silver bullets 12/18k’s

The Cinemills 12/18k HMI Fresnel is the workhorse of the industry. The fixture has an excellent reputation for quality and dependability.
Ready for hire!

05/09/2022

Reposted from .iamhalsey 🎶One of these things is not like the other...

05/03/2022

From "Captain America" to "Captain Marvel" to "Avengers: Endgame," see the ways the movies of the Marvel Cinematic Universe are made.

03/22/2022

Reposted from 2001 - 2002

03/11/2022

Reposted from Just another Friday 👀
>> Juste un autre vendredi sur notre loading dock!!

02/25/2022

Reposted from なかなか出る事はありませんが...
こんな代物もあります。



#シネミル #ハリウッド
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#照明部 #映像照明
#ライティング
#沖縄 #オキナワ
#アンドオキナワ

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#撮影現場 #撮影隊 #沖縄照明
#ムービー撮影 #映像編集
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02/09/2022

Reposted from "Probably the hardest setup was a stretch of road 500ft long, on the hills of Snowdonia for a night car chase scene. There wasn’t a single street light so we had to put up 15 posts each with 800W sources to give us some background movement from the car perspective. For the far background we had 2x 18k Silver Bullet HMI on a Genie boom, one giving us a subtle back light through the whole stretch of road, the other was lighting up the hill that made up the background. At the end of the road we had our Wall-O-Lite rig on another genie boom which made a nice pool of light all around the car.

For our night exteriors we looked at a couple of different options for a soft top light that could be rigged on a genie boom. As anything with a big footprint could be problematic with our windy nights at Snowdonia, Best Boy Seb Nowell and I ended up putting together a rig that consisted of 4 Wall-O-Lite rigged side-by-side that gave us a total of 40x 4ft Kino tubes on a light-weight structure that was slim enough to cut through the wind and with more than enough punch for what we needed."

Gaffer .ribeiro goes into detail about lighting the official selection &Charles. Serviced by and Manchester.

01/26/2022

CINEMILLS SILVER BULLET in action!

Reposted from Throwback to warrior season 1. Epic job with amazing people!

01/19/2022

Reposted from These babies are worth their weight in silver 😜

01/11/2022

Reposted from When playing with fire ya best do it outside.

01/05/2022

Reposted from • The lone light and it’s technician

01/02/2022

Reposted from Bora Bora, French Polynesia, December 2008. The St Regis resort is a paradise built on paradise, and it is here on the white sandy beaches and in the glistening green lagoon that the filming of Couples Retreat is underway, direction by Peter Billingsley with cinematography by Eric Alan Edwards. Couples Retreat can best be understood as a tragedy of buffoonery as four improbable couples wander through a hell of their own making, despondent and desperate.
Now, a few weeks into production, the script changes. What were once all Day scenes while on location in Bora Bora have yielded to creative currents, and an inspired impromptu Night luau scene is written. A small change, perhaps, adding the word Night on paper. But when the shipping containers were packed and shipped to Bora Bora on their four-week journey from LA, they were filled with the lights best equipped to compete with an equatorial sun: 18K Fresnels, 12K, and 4K pars. And not, as is now needed, lights for providing night ambience.
It only takes 11ish hours to fly equipment to the island. It does, however, cost a considerable amount more than shipping by boat as they fly in hundreds of feet of 4/Ot cable (cable that weighs a pound a foot), Clay P**y 1200 Profiles, balloons, networking equipment, programmer Scott Barnes, and a techno crane.
The luau takes place on the beach, so there’s nowhere to anchor lifts and they need to create soft ambient lighting from above. The rigging key grip, Les Percy, invents a clever rig using 20” box truss, palm trees, and balloons. The box trusses are vertically strapped to the palm trees (without damaging them), with a cross section of box truss attached at the top. In that cross section, a cradle is made into which the air-filled balloon is nestled (providing the ambient light), with the moving lights hanging off the bottom of the cradle (providing highlights and background light). All of it is controlled by a Hog 3.
Director: Peter Billingsley DP: Eric Alan Edwards Gaffer: Mike Bauman Rigging Key Grip: Les Percy Rigging Gaffer: John Manocchia Programmer: Scott Barnes

12/27/2021

Reposted from A day in the life of gaffer ⚡

12/23/2021

12/21/2021

CINEMILLS SILVER BULLETS

Reposted from

12/16/2021

Reposted from Shining bright, our new Silver Bullets ⠀
🔵🔴🟡⠀
⠀⠀⠀⠀
⠀

12/09/2021

CINEMILLS SILVER BULLET in action!

Reposted from Three 18k’s pounding into a cafe. Classic set up.

12/01/2021

Reposted from Finally playing with a Silver Bullet 18K… It’s how moonlight gets made!

11/02/2021

Reposted from On the set with

"Bringing out the sun"

10/22/2021

Reposted from with CINEMILLS SILVER BULLET

10/10/2021

behind the scenes with CINEMILLS SILVER BULLETS in action!

09/28/2021

Reposted from It’s been a day. 😶‍🌫️

09/25/2021

Shot at CINEMILLS

09/22/2021

Reposted from Film Day at the studio!
🎥

09/15/2021

‘A Cowgirls Story’ what people have been saying about our film. View it now on YouTube

https://youtu.be/L8ZCG52CBF4

Written and Directed by

09/10/2021

BTS on their latest film shoot.

09/08/2021

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