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Albion Hockney

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  1. even with the dream vibes and small portion of the track I'd fight hard for a location with control of the stadium lights. They will bring up your background too...if you just have lights on talent and shoot at night you might loose exposure on background so all the production design you have left is the track on the ground and then blackness behind it, but maybe that is good for what you want? are you tracking with a moving runner on steadicam? I'd say even like an area of 50ft or so is a lot for one 4k. If you get a place with Musco's which are pretty common they should be around d
  2. I think the best thing you can do is find a great location with stadium lights you can control. Shooting into the stadium lights is very dramatic and usually you can control each light tower individually so you can turn off the ones on the near side and shoot into them backlit. The real lights are great piece of production design as well, they look awesome in the deep background of shots. An M40 will do some work, but one M40 isn't going to light up the whole track. you'd need Dinos or 18k's to do that sorta thing way up high. that is a huge budget thing. If you need some fill or to shape the
  3. If you work with same production team 2-3 times no one will be offended or put off by a simple email saying hey, I want to do what you do one day. Some people are busy or not helpful for sure, but some might be of some help. Or just going up to them during lunch or after wrap, building confidence in social/networking skills will really help you out...I know everyone says that, but unfortunately its true. that said lots of people who have no social skills manage to make it too so don't worry about it if you cant do that.
  4. I can't remember ever seeing tree dapple over such a large interior space in real life. there would have to be a huge row of trees
  5. Yea if you want detail on those items in the FG of your shot you need more light on them. Right now you have them right at the noise floor with what looks like slightly lifted blacks. Keep everything out of purple and crush a bit in post if you want clean blacks.
  6. yea @Satsuki Murashige I think he's a control freak! I think there are good bits and bad bits to that, but I do miss the looks of his older movies. Even social network to me looked better then the newer ones even though Cronenweth shot both of those. @charles pappas Zodiac was shot on the viper (same camera as collateral) ....but Savides shot it and you can tell alot of his tastes are involved in how it looks....IE why it looks so good! It does have some of that cold fincher vibe that newest stuff has, But I think Savides added a sense of realism to it that meshed really well.
  7. I agree with all of that, But I' i think Fincher is falling into the trap of being wowed by what digtal tech is capable of. its good at some things like the face replacements in social network, but not good at other things like imitating the feel of an old b/w film.
  8. I think fincher is just off base with his idea he can shoot on Digital and emulate looks in post. he did the same thing with a fake anamorphic look on mindhunter that looked totally fake. that said I think this sorta plasticy look is part of his thing. Gone girl and his other films have it too and it works in those cases.
  9. The colorists at the post house's do have immense experience and often a lot of creative input in the grades. They spend their whole day grading, every day. So what you pay for is their eye, just like a DP. That said....yea like everything in this industry lots of BS/Politics/Smoke and Mirrors too.
  10. There really isn't any difference any more on the tech side between pro and amateur colorists. Lots of professional colorists use Resolve. They have panels to control everything faster, professional calibrated monitors, super fast computers, but other then that it's the same thing.
  11. Your plan sounds good. I would agree 4x4ft (1x1meter?) floppy's, one or two, will cover close up and even medium close up shots. so if you don't have any wide coverage of a scene that might be quicker, The bigger frame will do a better job though if you have the crew to move it around and I'd guess it'd cover you about waist up or even a 2 shot. For direct sun your plan sounds good. with 35mm stock you could get away without much fill light I think, but if you want some extra light on faces you can bounce the sunlight back from the side. You can even do a big bounce on one side and add n
  12. I was wondering what the purpose of that was...I've seen that scene and from what I remember it doesn't feel like it has multiple color temps going on. even subtly.
  13. The setup appears much more complicated than it is. she just has lots of frames of diffusion and lots of various lights bouncing into the room. A lot of that comes from adjusting the light for each specific shot. It might be easier to Just think of it is as a big soft light coming through the window.
  14. Ughf, rates are getting tough out there these days! 😉
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