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Mei Lewis

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Everything posted by Mei Lewis

  1. You were right! We watched it together but I stopped it half way through because it was getting very late, and the next day she asked if she could finish watching it. That's very strange for my mum! Sorry I've been away for a while. I actually had a lot of notes I made on this film, but I've been too busy with work the last 7 days or so to do anything. Will post again later. You liked the film then?
  2. Not yet - my mum is staying and I don’t thi k she’d enjoy it! Planning to watch tomorrow when she’s gone to bed.
  3. Does anyone know the name of the photographer that Matthew Libatique referenced in his episode? I'll trawl through the episode again if I need to, but if someone knows then thanks.
  4. Here goes then: Film of the Month Club 2021 – Schedule January Sound of Metal imdb / trailer / Amazon Prime US UK "A heavy-metal drummer's life is thrown into freefall when he begins to lose his hearing." February Dogtooth imdb / trailer / Amazon UK US "Three teenagers live isolated, without leaving their house, because their over-protective parents say they can only leave when their dogtooth falls out." March Woody Allen Film (Phil to decide which) imdb / Woody Allen montage “My one regret in life is that I am not someone else.” April – December TBC
  5. Sound of Metal is also on my list of things to see. 🤘
  6. That's me out then! --- I'd already come to pretty much the same conclusions.
  7. Satsuki's photos all have the subject looking straight at camera. The direction the subject is looking can make a big difference as to what is the best lighting. In narrative it's more common for characters to look off camera, and in that situation a light further around to the side can work better.
  8. A couple of other things you can try: Use a smaller light source in closer. If you bring a smaller light source close enough that it subtends the same angle as the larger one did, it won't be any harder on the subject, but light will fall off more quickly because if the inverse square law, so you can direct it more at where you want it to fall and away from where you don't want it (the far side of the face). Use a different sort of light modifier It may be that your diffusion frame setup is bouncing light about the room and filling in where you don't want on the subject. A gridded soft box can be equally soft, but only go where you want it to. You might try a beauty dish too, I've heard them described as a "soft hard light source" - that won't help much in visualising but if you search for examples you'll see what it means.
  9. To judge results fairly you have to compare them to the alternative. In this situation, what would the results have been for the extremely dedicated individuals if if they had spent £30,000 and two years of their lives in some other way trying to become cinematographers? (I'm saying this as someone who still might consider going to the NFTS. That's why I was looking at their site It's the only place in the UK anyone has ever said is any good. Did you go there Stuart?)
  10. I think the above can be taken as a sort of academic view of what 'cinematography' is. As I look at what the course covers I compare it to what's been said above on this discussion; what I think are the skills needed now, or the skills I'd need to progress; and I think about the aspects they don't cover. I think the course aligns with some of the more old school views on this forum, but it's missing a lot of obvious modern stuff.
  11. A lot of the discussion above has been about what a cinematographer needs to know, or should know. As a point of reference, here is the course outline for the Cinematography 'Master of Arts' qualification at the National Film and Television School in the UK: Course Outline MA Cinematography They cover: Set protocol Exposure, how to light sets and on location. Lighting for green screen. Rear projection. 'Active looking' - light, movement, story, imagination. Animation (it's not clear to me what this is about. DoPing animation?) Some students get to do some documentary work. Working on (spec?) commercials. Shooting a few experimental 60 second films. Working with a director on scenes. Using a small amount of 16mm and 35mm film and the first year film is shot on 16mm film. Entering a short film competition. Pitching projects, meeting agents, tax etc. The course page is here: https://nfts.co.uk/cinematography It costs about £30,000 (equivalent to about $41,000) in fees alone to do the two year course.
  12. It's getting towards then end of January now, so how about we get started? Let's pick a movie to watch over the next week or so. I think that's a really great idea, but I don't know how to do a poll on here, so perhaps we do a few one-offs and then work out the poll thing. Suggestions: I'll add these to the list: 7 - Dogtooth https://www.imdb.com/title/tt1379182/?ref_=fn_al_tt_1 8 - Capernaum https://www.imdb.com/title/tt8267604/ 9 - Shawshank Redemption (been meaning to rewatch) If someone has a strong preference let's go with that. If not, then someone please click this link RANDOM NUMBER BETWEEN 1 AND 9 and we'll get a number telling us what to watch. I can create a zoom meeting and post the link here in a week's time? Still not sorted a date time for the actual meeting. I'm fairly free most evenings/weekends at the moment.
  13. You also have to be _more_ knowledgeable in many other ways. Cinematographers now potentially have most of the control (and responsibility) that used to be taken by the film manufacturers over how light is converted into recorded colour values. But they need to know about LUTs, noise, dynamic range and maximising analogue to digital conversions (and therefore discrete binary representations of continuously variable analogue values) in a way than previous generations didn’t. To be fully competent nowadays they also need to be able to setup and balance a gimbal, fly a drone, use apps to wirelessly control lighting, understand autofocus modes, work with log footage, understand in-camera stabilisation, know about file backups and transfers, card read speeds, bit depth, many more types of light source... the list endless because it grows every year And they are competing with everyone who can afford a camera, not just those who happened to have a family member in the business, were rich enough to afford film stock, or were lucky enough to get into film school.
  14. After about 10 days learning and 2 days working on it, this is the first thing I've made inside Unreal Engine. Next step is to learn how to do mirrors. Then human figures, movement, acting...
  15. Screens themselves have their own refresh rates, and I believe that they are not always the same as what is being shot. E.g. if you're shooting at 100fps the monitor might only be displaying at 25Hz, and not showing you 3 out of every 4 frames. It might be that the frames you are seeing are all the same brightness, so no flickering, but those frames in between are a different brightness, so when you playback slowed down to 25fps back at base it flickers. Don't think that's what's happening here though.
  16. I play games too, far less than I used to. But I prefer films without a lot of (visible) CG and I prefer filming 'real stuff' too. At some point though, not very far off, even 100% 'real stuff' will be pre-vized in the computer before it's filmed for real. Unless cinematographers are involved in that pre-viz they won't have as much of a say when it's actually filmed.
  17. The more I look into this, the more I realise that it's going to be a fundamental part of *all* cinematography in future. We all need to understand some elements of it, or get left behind. In a few years directors will be able to make their whole film, in a draft CG form, using their laptop, as easily as using an NLE, without ever needing a real life cinematographer. And by the point they come to make the 'real' film, most of the artistic decisions cinematographers like to make will have already been made without them.
  18. I've been to that part of London and both those shots would be easy now with a drone. Might look into the legality of flying over the river, it should be far enough from people to be safe. Having a ride in a helicopter is on my bucket list. I nearly talked the police in South Wales into taking me up in theirs once, but it didn't happen.
  19. Wow, would never have guessed a helicopter. I guess the camera was handheld, pointing out of the side?
  20. Is this the same sort of thing? https://www.provideocoalition.com/go_craaaaazy_fill_from_the_key_side/
  21. Your lecturer is a plonker. He probably doesn’t know the answer and is saying that as an excuse.
  22. How was this done? Seems to get too close to the bridge and the the people to be helicopter, and the camera is very shakey
  23. "Total Video Duration: 16 hours 38 minutes" - this might take a while!
  24. I'm trying to figure out the best way for myself to approach the whole topic of virtual production. My starting point is, I have some skills as a real life DoP, including camera movement, lighting, shooting etc. I'm also a very techy person, having been a programmer in a past life and having played loads of games, including some of the early Unreal games that lead to Unreal Engine. I loved The Mandalorian, and that plus the fact that Unreal Engine/ realtime production is on the cusp of being technically possible, now seems like the time to explore all this. So where to start... for me it's going to be learning as much about this whole area as possible. There's no way for me to get access to the sort of screen volume that the Mandalorian etc. used, but I have cameras, lights and computers, and much of the software involved is free. So first step for me is to learn Unreal Engine! I'm already part way through a couple of courses about it on Udemy. Now I've found this which seems like a better place to start: https://www.unrealengine.com/en-US/onlinelearning-courses/virtual-production-primer?sessionInvalidated=true
  25. I'm fairly flexible. Shall we do this by calendar month starting with January? Now how do we choose a film?
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