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Bruce Greene

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  • Occupation
    Cinematographer
  • Location
    Los Angeles
  • My Gear
    Steadicam
  • Specialties
    specialist in narrative projects, features and series.

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  • Website URL
    http://www.brucealangreene.com

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  1. From my experience... From my last film original... Film was processed and an "off line" scan or telecine was made for editorial. After picture lock, the takes used were scanned and conformed to the edit. Color grading was done using a 2383 simulation LUT and a negative was output and the prints made. They looked pretty close to the DI simulation. DI was done at Deluxe if I recall. Not sure what happened with the video masters though. Sony wouldn't give me a copy, and it was a foreign film, so there were not any to buy in the US. I had asked that they output the video through the emulation LUT, but I'm not sure Sony followed through with that...
  2. If you can’t afford to shoot film, I doubt you can afford the 10’s of thousands of dollars to film out a negative, scan it, and then re-color correct the result. I’ve only done film outs for a film release, but never rescanned the film negative. But, if there will be no film release, I would grade the digital movie and output a low contrast log version for creating the film neg, just so you don’t throw away data that you might need to digitally color correct your new film negative. I would certainly run multiple tests of short clips before committing to the work flow. Good luck with this and please share your results if you ever do it.
  3. If you want to see the reflections, you’ll need to light the interior bright enough to see through them, and this may look unnatural. Otherwise, you’ll need to flag off the reflections from the glass. Use a black flag rather than a a diffuser, otherwise you’ll just see a reflection of the diffusion. The flag will need to be pretty big too to avoid seeing reflections of the frame. And it will get dark inside, so you’ll need to light the interior as well usually. Be prepared to spend some time rigging the flag as it’s the most difficult part of the set up. Lately, I’ve had producers insisting on shooting these scenes using chroma key to save time and money and this generally works well, but you’ll need to shoot the BG plates as well. Reflections in the glass are then added in post, so shoot those plates as well.
  4. I believe this describes an older, video style Varicam. FilmRec mode allowed a choice of 4 or 5 different gamma corrections, based upon a gamma 2.2 base. The choices for gamma were given in percentages. 200% through 500 or 600%. The highest number recorded the entire dynamic range of the camera, but not in a log curve. Adding a correction curve during color grading was done to create the look and contrast desired. As it’s not a log recording, 10 bit or higher recording was necessary to avoid banding on color corrected footage. When these cameras were current, they recorded the highest dynamic range of the early digital cinema cameras.
  5. I don’t know the Venice camera, but is it possible that it does multiple sensor read outs to extend dynamic range? if so, it could create this effect, which in most circumstances is not noticeable. This might be a question for the Sony engineers.
  6. A 4x4x4 cube, lifted up high for a night exterior is a fairly hard light source as its small relative to the distances involved. The advantage over a fresnel or other “hard” light source is that the light gently falls off to blackness vs. a focused light that is evenly lit until... it goes to black. ive used balloon lights, that look big on the ground, but once up high and far away create a fairly hard light, with gentle fall off that can look quite natural.
  7. There is... no "secret sauce". Well, except that production design, wardrobe, and movie star good looks make photography look much much better! So, assuming equally good cinematography... these days anyone can color grade a movie at home to look as good as many expensive post houses can produce. There are a few superb colorists out there, a whole bunch of competent ones, and ... lots of guys who know the knobs, but not photography. I'm a cinematographer who has color corrected some of the films I've photographed, at home. So, call me a "semi-pro" colorist 🙂 I'm using Davinci Resolve, an Eizo display I've calibrated myself, and a few thousand dollars worth of computer stuff. If you're interested in what can be done at home, here are some clips of the last theatrical picture I color corrected in my house... It's a "lowish budget" movie, shot on location without a major Hollywood production design, though we did our best!
  8. I had the same issue with this movie. But... I think the issue might have to do with Netflix streaming an HDR version to my non-HDR TV. I've seen similar issues with other streaming shows, once in a while. I'm thinking that it may have to do with my Roku stick. If the stick logs on before the TV is booted up, it doesn't receive the TV state over the HDMI connection, and errors occur. Now, I always boot the TV first, then the Roku Stick and I haven't seen this issue again. But, I haven't gone back to check on "The Vast of Night" again...
  9. https://www.itsupplies.com/Eizo-ColorEdge-Prominence-CG3146-HDR-Monitor-p/cg3146-bk.htm Maybe this one?
  10. There are a couple ways to look at this: Pure return in rentals vs. marketing value. I’ve made some purchases such as my Steadicam and Arri BL camera that paid for themselves many times over. I also invested in an early digital cinema camera system that was quite expensive and only returned about 25% in rentals. But owning the equipment taught me much about digital acquisition and helped me make a couple key relationships which enabled me to transition from operator to DP. And one relationship was built on donating the camera package for free on a short film. I’ve only worked for that producer one day since... but she introduced my daughter to what had become a career as a writer / producer at a major network. So, in the end, it paid off very well. More than what I spent on her university education! lesson: don’t over look the marketing potential of a purchase and.... happy holidays!!!
  11. Yours is a good question. I think if you were making optical prints, the difference between these capture films would be obvious. But, since you're scanning... I'm not so sure... I've posted some links below to some b&w images from my facebook page. Sorry, they are all different images, but I think they might show what's possible. You might need to copy and paste them into a photo app so you can see them big enough. Each link has a photo taken in full frame 35mm still camera format. If you don't feel too much difference, you might want to use the capture medium that affords you the most control after scanning. Color neg film scan to B&W B&W tri-x scan Digital color capture converted to B&W
  12. A couple of things: It's never been easier or more affordable to make some kind of movie. If you have a smart phone, you're good to go! At this level, the idea is way way more important than the technical quality of the camera. And secondly, please forgive me for what I'm about to write... Please use paragraphs when writing long posts. It can be really difficult, at least for me, to read such a giant block of words. So I tend to avoid reading such posts. I suspect that I'm not the only one, or am I? Best wishes to you Josh! Never give up, never surrender!!!
  13. I’ve seen DCPs with the effect you described. It’s caused by exporting full range video into a codec normally associated with video levels. The DCP house then corrected the video levels, crushing the shadows and highlights. Since you’ve graded in sRGB, maybe ( considering it was on a laptop screen), I would set your display to REC709, gamma, 2.2. Then review your grade and make sure it looks correct. Then render your movie to 10 bit dpx sequence, full data range. Bring this to the DCP house and tell them it’s REC709, gamma 2.2, full data range, and they will make the correct conversion to DCI P3 color space for the DCP.
  14. I have a set of mk1 standard speed lenses in Arri Standard Mount. I’ve used them many times for super 35mm film without issue. I’ve never used them with a digital camera though. I expect that their performance is quite similar to the mk2 lenses. The mk1 lenses are very small and do not have gears for follow focus. You would need an adapter to PL mount to use them these days. And you may need a machinist to make focus and iris gears for them.
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