Tyler Clark
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Everything posted by Tyler Clark
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These are two frames from a reference we picked for a project. I have to film in a hospital and am trying to get a look similar to this. High Key, Vibrant, Etc. In the piece they seemed to utilize a lot of window light that I don't believe I will have in most setups including a couple hallway walk and talk shots. How do I get a high key look when starting completely from scratch in a place with no windows?
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Might be doing some macro shots soon (100mm) and Im looking for a stable head/movement system to get the smoothest movements. What are some good setups? Any tips and tricks worth sharing?
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Normal skintones is what Im looking for. Not coolish blue light. My bad. It seems that skin tone quality though cant get much better without re-bulbing existing fixtures. From what I gather from all the answers here it seems to be the best option to role with... ...Color Meter ...balance to the meter ...+green on production lights to match the meter ...pull green in post Yeah?
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So I have a job coming up and want to utilize the existing overhead flourescents. I've always had problems with color cast making my skintones look gross no matter what I color balanced too and how much I pulled in the grade. Whats the best way to utilize these fixtures and get a nice cool white look and not mess up my skintones.
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Looking for tips on product shots. I have a lot more coming up and I'm looking for tips to elevate them specifically lighting, color and lensing. Recent Shots: https://youtu.be/uG9ru13QeeM Camera: FS7 Lenses: Canon L Zooms (all f2.8). Graded with Filmconvert and Magic Bullet. No option for overcranking since we had to work inside of an active factory with no control of the overheads fluorescents.
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Sweet, there's a lot to consider. Thanks for all the help guys I really appreciate it! :)
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You are correct. I was more-so wondering if those camera systems with large bit depths and wide color spaces would work best for it. Mostly going for the look shown in the vimeo link. If I had to put words to it, clean but not sharp, smooth, wide DR. Its a bit of speculation right now. I was told this was they wanted a vintage 16mm look and am trying to get a rough jump off point before sitting down with the director. In reality I'm gonna have to find a way to make it work with a C300. So lets try it again. C300 with older/softer lensing that can be EF mounted, 1/8 and 1/4 diff filters for highlight fall off, and VisionColor/Filmconvert emulation in post for the curve?
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A project coming up wants to have a 16mm film look and doesn't have the money to do 16mm film. I was wondering what people have found to be the best film emulation on a digital camera system? Looking to get some really old school looking stuff. Look inspiration Initial thoughts would be Alexa or C500 for color space and DR, superspeeds, 1/8th and 1/4 diffusion filters, and VisionColor or Filmconvert applied in post.
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Exposing skin - spot vs incident
Tyler Clark replied to Tyler Clark's topic in Lighting for Film & Video
Thanks a lot for all the answers guys! I think this helps answer a lot of questions I've been having. I was doing the test actually just on the onboard monitor of a Canon 6D which I believe operates in REC709 if I'm not mistaken. I took the incident and exposed for that (f4 I believe). Then spotted on my talent, an ivory skinned, blonde, blue-eyed, southern bell if you will, which read a stop over. I guess my question now is, should I make it a habit to always expose for accurately spot-read skin tones? Or is this a preference matter per the chosen camera? -
Is it safer to rely on spot or incident readings for skin? I had someone sit in for a camera test recently and metered the key as an incident and found that the face looked over exposed. I spot metered her face from then on and found it was about 1 stop over the incident and went off of that. Was wondering if it's a preference or is there a specific standard way to handle that.
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I recently purchased a Small HD dp7-pro and was wondering weather I should set it to REC709 or Native?
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Does anyone have a great resource on creating color contrast in lighting setups? Good rules of thumb? Color theory behind it? How it can best utilize a projects color scheme? How it effects continuity? How to best prep for a projects color contrast? I feel as if I get caught up in the typical orange and blues and want to branch out as well as utilize that even more.
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I was wondering if anyone could shed some light on a proper workflow for a DP to achieve a specific color scheme for a project. What processes are done in preproduction camera and lighting wise to get the look you want? And how are those handled in post production and grading? Or if there is no official color grade being done, how you would handle giving a finished look from camera? Currently I have been working with the c300 in cinema locked mode. It's image is great but I end up with a lot of muted colors where as I would like to find a look that looks more finished out of camera and learn more about how to create that finished look in my grade as well.
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500 Days of Summer - Color Filters, Grade?
Tyler Clark replied to Jacques Koudstaal's topic in Lighting for Film & Video
I think this look could be achieved pretty well in camera and in the grade with the Alexa. I've done some similar looks in the C300 even. I'd say maybe look into some extra softening to get the effect for the 80's sequences. The Cooke will do a pretty good job but you may find you want to take it further once you see the footage in the timeline. -
I'm going to be doing a shoot soon in a leather factory showcasing their facility and attention to quality and process. I was wondering if anyone knew of good inspiration for leather/woodworking/rustic feel commercials. Especially some that utilize some good color contrast.
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I might be doing a job with either the epic or fs700 in a leather factory and I was wondering what fixtures would be best to use. My thoughts were that I would get flicker with their house fluorescents so I would have to bring all the light sources. From the looks of it to expose to RED at 300fps, 800iso, f2.8 I would need at 4 stops more than the REDs base at 500fc putting me at 8000fc. That seems to put me at a 1.8K lamp roughly 4ft from the subject through a 250 1/2 white frame. Fortunately it will mostly be medium shots and closeups and macro shots. I was wondering if anyone could give tips on shooting in this situation and maybe confirm if my calculations are correct. Also does anyone know how to convert db sensitivity to footcandles?
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If I have a camera and grip and lighting crew I want to work with who handles negotiating the rates for them and making sure they're confirmed for the days at hand? Also does anyone have a guide or checklist for pre-production for the cinematographer for projects. I often find myself messing things up on the organizational timeline end of that.
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360 degree pan in precisely 48 seconds. How?
Tyler Clark replied to Eric Novakovich's topic in Camera Operating & Gear
I'm sure there are more advanced ways of getting this shot. Motion-controlled gear that can carry a ALEXA fully rigged and what-not. However I have been on set where the cam op rigged a kitchen timer with a 1/4 inch mount and was able to achieve a 360 degree shot. This is obviously an option for much smaller cameras with a set-it-forget-it focus setup but It may be worth testing depending on how much you can scale back your rig on the blackmagic. -
I should preface that I am based out of North East Ohio (cleveland - pittsburgh area) and I personally am very sensitive to the cold. I don't work well when I'm cold and here, during the winter, it can go from 30 degrees one day to 5 degrees the next with windchills bringing that down another 10 degrees. I'm not saying this is the worst condition you could be in but it is annoying. http://www.xdcam-user.com/northern-lights-expeditions-to-norway/arctic-clothing-guide/ I've found the information in the article above to be immensely helpful. It addresses layers needed and the proper fabrics to use and the importance of STAYING DRY! Which was a saving grace to someone like myself who is sensitive to the cold and would always wear cotton layers without knowing any better. http://thewirecutter.com/reviews/best-winter-boots/ Having cold feet really effects my performance on set. Normally I would have to bundle up 2 pairs of socks and a pair of cheaper boots and still be freezing by the end of the day. These boots have allowed me to stay warm with even just 1 pair of cotton socks in some cases (though I whole heartedly recommend Merino fabric socks). I'm not boot expert but I did enjoy seeing how thorough the article went into their testing. Also I've heard a great recommendation for when you have to pull your own focus consisting of a wool-based glove liner inside of thick water proof gloves and when you're not rolling, ditch those and tuck your hands into wool mittens that are buried in your coat pocket with a couple hand warmers in each. I've found hand warmers in your main gloves a bit cumbersome when you have to pull your own focus or make adjustments. I think the biggest thing too is to always be moving to take your mind off it. On a recent shoot the myself, the gaffer and the 1st ac could all be seen doing jumping jax while waiting on 1st team when we were too far from staging to leave set. Hope this helps.
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So I'm on a project that is based around multirotor helicopters. Needless to say I have a lot of gopro footage coming my way. I was wondering if anyone had any advice or leads to good resources on matching gopro footage and cinema log footage in the grade I would be much appreciated! Here is what I've been capable of so far. Ignore the last 18 minutes it's black video there was an encoding error. http://youtu.be/Isge70aoLtE
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With the 8-bit issue I see that in the MOV file that is exported?
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I understand that. I guess what I'm mostly concerned with is, what part of the waveform is considered underexposed? Would using a lower ISO rating than the C300's native ISO be beneficial or will it create more noise? And lastly does having lifted blacks garner more noise in the image? The canon records its log at around 20 IRE and I have been leaving it around there however it seems that I am getting more noise when I bring the blacks down than I get when I just leave them. We wanted to leave alot of black in frame (similar to later episodes of law and order SVU) but I'm trying to figure out how to handle that in camera and in our setups.
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Do you have any recommendations or advice on how to approach that from lighting standpoint to get a similar result I guess is my question.
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Is there any way to get rid of that aside from simply adding more light?
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I have been having an issue when color grading lately with the C300. After the grade, most blacks that are below 40 IRE seem to be artifacting like crazy on youtube. Whereas I don't see this from other people's work. Ive tried these encode settings in adobe media encoder, Quicktime MOV, h264 55'000 kbps 1920 x 818 Quicktime MOV, h264 35'000 kbps 1920 x 818 Quicktime MOV, h264 25'000 kbps 1920 x 818 Quicktime MOV, Prores 444 1920 x 818 But all of them just aren't cutting it and I dont know what I'm missing. My blacks are generally not brought down to 0 because the director wants a low contrasty look and some scenes were shot very dimly with only one LED to light the scene. On the other hand, we've lit darker scenes with several 1k's and Litepanel LEDs and while the highlights and midtones held up the blacks still artifacted hard. Here is an unlisted link to a test video I made. Please don't share outside of the community. https://www.youtube.com/watch?v=4d3WQT4hcN4 Any and all info would be much appreciated!
