Contrast

[Mario C. Jackson]

Hey guys I am prepping to shoot another film in January. I will be shooting on 250D and 7218. The look I am going for is alot of detail and low contrast in the environment but high contrast on the face of the actors. I am thinking of using a Low Contrast filter to give detail to the background. I have never used this filter before so I would like to hear you guys input on the filter and my idea.

Thanks

Mario C. Jackson

[David Mullen ASC]

Hmmm, low contrast in the shadows and high contrast in the highlights -- sounds like video!

 

Yes, most contrast-lowering filters affect the low-end DETAIL (blacks and shadows first) before affecting the highlights, BUT contrast is affected overall. A bright face will cause a low-con filter to lower the contrast of the face because these filters work by spreading bright areas into shadow areas, so the contrast of the face will be affected. But still, you are most likely to see the effect more in the blacks than the highlights.

 

Flashing the negative is a little different since it does not base its affect on interaction with bright areas in the frame, so flashing works on the bottom end of the information before it affects highlights.

 

Something like an UltraCon might be better than a LowCon since a LowCon causes some halation around bright areas.

Edited November 23, 2005 by David Mullen

[Mario C. Jackson]

David

I completley understand what you are saying David. I like the look of Aeon Flux, where the world is very detailed with high saturation, and the faces of the actors have nice contrast. That is the look I am aiming for. I don't have a Ultra Con filter but I do have a Low Con 2 fitler. Also Scott Duncan told me to tell you high. He said you should remember him from Cal Arts.

Thanks

Mario C. Jackson

Edited November 23, 2005 by Mario C. Jackson

[Joseph White]

a lot of it will have to do with lighting/sculpting as well. i don't know if on-camera filtration is the way to go as with all filters, it generally effects everything as mr. mullen is saying.

 

depending on the size of your locations and how much grip equipment you have available to you, try creating this look to eye. use much softer light and more fill in your backgrounds to your eye, then use harder light on your subjects. it's all about seperation - the further your subjects are away from the walls or limits of your environments, the more capacity there is to create significantly different looks in your elements. for day exteriors, try shooting later in the day when there isn't as much hard sunlight bouncing around in your backgrounds and perhaps use an overhead silk behind your actors and use smaller hmis on the talent to give a different look. with night work just simply splash your backgrounds with softer light and use harder tungsten units on your actors. it's all about proportion, really. also, perhaps try using longer lenses for your close-ups and over's than maybe you normally would as obscuring the background with selective focus might help you create more distinction between foreground and background elements.

 

good luck and happy shooting.