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Bruce Greene

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Bruce Greene last won the day on May 14

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    specialist in narrative projects, features and series.

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  1. For what it's worth... If I were shooting a b&w movie, I would probably shoot in color and convert to b&w in digital color correction. With this method one can create the effect of any color filter during the conversion so it's a lot more versatile.
  2. As this is a cinematographer's forum, this is a strange question. Most of us photograph the films of others, so we are not "filmmakers" per se. What is it that you're trying to learn here? I've worked on hundreds or maybe even a thousand projects over many years, but I've only "made" 4 short films, as a "filmmaker" 🙂
  3. Have you tried google? https://www.freestylephoto.biz/black-and-white-filters-tutorial https://www.photographymad.com/pages/view/using-coloured-filters-in-black-and-white-photography There are many more articles if you search...
  4. when I shoot chroma key I always try to keep the subject as far from the green background as possible and light the green separately from the subject. In your example frame, the subject is lit very evenly. You might want to try to lower the fill light and / or brighten the key and back lights to get some more 3 dimensionality to your subject, if it fits your background image that will replace the green.
  5. For realism, just think about how our creator lights day exteriors. A large bluish soft light that covers the entire ceiling, plus one big hard source that just a little bit less blue (the sun). Recreate this on stage and you'll have it! The challenging thing here is the very large, broad skylight emulation. This either requires many many smaller units of soft light, or a very large white textile to either bounce off of, or light through. I was once on a stage a few years ago where they used about 150 large kino flow units (4x8) to create the sky light, and then they had various "sun" sources pre rigged to create the sunlight. It was very effective and realistic. Tungsten or daylight fixtures, it doesn't matter.
  6. Well, you don't need a LUT to get this effect. A simple way, if you're working in an editing app, would be make a duplicate copy of the shot and place it over the shot on a 2nd video track. Next, convert the duplicate clip to B&W. Then color the black and white image to match skin tone so that's it's a sort of sepia colored b&w image. Then, finally, change the opacity of the sepia/b&w image to a low percentage so that just a little bit of it shows. This will have the effect of reducing the saturation of every color except the skin tones. Adjust the opacity of this duplicate layer until you like the effect and done!
  7. The "30P" is probably really "29.97"fps for US TVs. But the more important question is what is the best frame rate for your distribution? For web distribution, just about any of the "standard" frame rates will play back fine on computers or phones or tablets. Though, I've found issues with 25fps on vimeo playing back correctly on my US Panasonic TV through the Roku/Vimeo app. In general, for world wide distribution, for cinema, streaming, and TV broadcast, it's best to originate at 24fps or maybe 23.98fps if necessary. 24fps can be sped up to 25fps for distribution in 50 hz countries easily. 3:2 pulldown can also be added to obtain 30fps or 60i for US TV broadcast. Cinema distribution is 24fps world wide. Conversely, if you need to convert from 30fps to 24fps it is difficult to get smooth motion due to the dropped frames. Hence the recommendation to originate at 24fps.
  8. Tiffen IRND filters had this effect. And it's not so easy to color correct them. Each density of filter has a different amount of greenish tint, and it seems that this green does not effect every color the same way. Maybe Tiffen has better IRND technology now, but I don't know. For a recent tiny project that we shot with a Sony A7RIII camera, I purchased IRND filters from https://breakthrough.photography/ And they were quite good, without a color cast. Though, in general, I do prefer to use a camera that has built in IRND filters matched to the camera sensor, such as the Alexa mini. I would conclude that the expense of color correcting these filters will be more expensive than the "bargain" on the used filters...
  9. You can see on the floor reflection that the windows are very much taller than appear in this frame. It's possible that the entire shot was lit with light coming through the window at the front of the room, with maybe, some little ambience added inside the room, but it's hard to tell. It's also possible that some augmentation of the window light is rigged above the frame, but it's not possible to know this from looking at this image. It's also possible, but unlikely if there was a significant scene to shoot here, that this is natural daylight only, available light as well. But, upon further viewing, it seems there is also some spotlight on the people near the wall at the back of the frame... 🙂
  10. I think you can use what ever formula you like as long as you are consistent. I assume that this will be for your own use and learning only. Just curious, what goal do you have for making these notes of lighting ratios? I suppose they might be useful if one wants to recreate a lighting setup at a later date. But, for matching lighting from different camera angles, I don't think it will be very useful, as from my personal experience, it's the "perceived" match that matters, and not an exact match. For example, a very wide shot might have a bit higher lighting ratio than a close up that needs to cut from the wide shot.
  11. I think you'll need to tell us what software you are using here. Something like "Editing in Avid and conforming for color correction in Resolve"...
  12. If you are shooting digitally... consider lighting the scene red and focusing by eye to get the image in the best focus. Since this is how most focus pullers seem to work these days, it shouldn't be an issue. To reduce noise (due to not really exposing the green and blue channels), shoot at a lower ISO setting also. If you shoot in normal lighting for correction to red in post, you may find that the focus in the red channel is off. Of course, one could convert to b&w and then color the scene red to compensate for this effect. But this method won't have quite the same reflective qualities that shooting with red light would have...
  13. .tif would be the best quality for the DCP, but I doubt you'll be able to see any issues with ProRes 4444 for the DCP master. There is an advantage to rendering to an image sequence though. If any errors are discovered, only the fixed frames need to be re-rendered and placed into the folder. For ProRes, you'll need to re-render the entire reel or project.
  14. Tyler sums this up pretty well here 🙂
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