Robert Sanders

Yeah, I've seen it a bit on CSI:Vegas, along with streak filters for that simulated anamorphic flare on flashlights. CSI Miami doesn't appear to use nets, but they do love their LOOONG lenses. Helps hide the fact that the majority of the show is lensed in LA. ;)

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I've never heard of streak filters for emulating anamorphic lens flares. Please expound.

Hi,

 

I think people who saw "Collateral" and complained about the motion rendering overlooked the incredible available-light night work which was much smoother than film could have done at the same light levels, so if you're after grain and other artifacts it's probably not the format for you. I've always thought that if I did shoot something that needed to look dirty for filmout I'd probably have it burned out to a moderately-fast camera stock rather than a very slow intermediate one, just so as to impose a little grain on it.

 

Phil

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I've always wondered about what the options were for the film-out.

1) Do different film recorders use different types of stocks? Do the different recorders have their own unique "look".

2) What options are there, in regards to film stocks, for the film-out?

Personally I wouldn't add any artificial grain to the image in post production (via software). But I would like to have all organic grain elements applied simply through the process of the film out.

3) But how much control do you have (wrt grain size/amount)?

what technique would you recomand for a B/W effect?

- post prod way or

- Desat color by color on the matrix?

or an other sollution i didn't thought about.

it's for a drama, the film is mostly in color but some parts are B/W

thank you to share you experiences

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I would definitely do this in post. As I'm sure you're already aware creating a representation of B&W from color photography is more than just desaturating the image. Dialing in the contrast is very important. Personally, I would prefer the option of dialiing in these values carefully, in front of a calibrated monitor, rather than doing it on set.

Ah, the good old fashioned Lucas bash. Every board needs one.

Yawn.

It's his money. They're his movies. As long as he's paying the bills, he can do whatever the f*ck he wants.

Oh, and that Avid you guys edit your films on...thank Lucas for that (EditDroid). And those digital touch-ups and fixes you'll need to apply, you can thank him for that too. Let's not forget all those salaries he's ponied up for over the last fifiteen years, they produced Photoshop (Knoll), modern compositing applications like Shake, etc (Sabre). Pushing Panavision and Sony to collaborate on a 24p camera system, we can thank him for that too. And there's pushing the limits of cinema sound systems, THX theater alignment programs...

I guess the guy's a hack.

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