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Will J. Lokken

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About Will J. Lokken

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    Cinematographer
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    Paris

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    http://www.willjlokken.com
  1. Thanks for your feedback Robin, I hadn't considered the LWZ, but it looks like a nice lens for S16 too! But damn, I love the 11mm-14mm range too much to let that go
  2. I've recently purchased my first S16 camera (Aaton XTR Prod) and I'm looking to make an investment in a zoom lens I can use for allround purposes and no-budget projects that I can still use on productions where we have the budget to rent e.g. Ultra16s, Super Speeds, S4s/SK4s - Hoping someone in here can give me some advice on the topic. I'm interested in a zoom that has the following properties: PL Mount Close focus of 0.75m or closer Has at least 12-30mm range Preferably ~T2.8 or faster Covers S16 fully For these requirements I've narrowed my options down to either: Angenieux HR 11.5-138 T2.3 Angenieux HR 7-81 T2.4 Cooke 10.4-52mm T2.8 (CVK) Cooke 10.8-60 T3* (CVK) Cooke 10-30 T1.6 (CVP) Cooke 9.5-53 T1.6 (CVT) Cooke 10.6-52 T1.65 (CVT) I didn't include the Canon Zooms as I don't feel like they give me the look I am going for. I also didn't include Zeiss Vario Sonnars in the list because their close focus is too far. But they may be workable with a diopter. I'm afraid of losing sharpness however. Any thoughts? Any other lenses that I might have missed in my research are much appreciated. Do you have any advice on these lenses. And which do you prefer?
  3. Thanks guys, So from what I can see, Bead board = Styrofoam Board = Expanded Poly Depron = Extruded Polystyrene Does that look correct? Foam Core.. is still a bit unclear I have some pictures, do you know which is which? Here
  4. Hi guys, I'm a big fan of using bead board as a bounce material, but sometimes it can be difficult when the gaffer in a new country doesn't know what a bead board is. Sometimes, the material I end up with is a different, harsher material, which renders light less soft. So, I was hoping someone in here could help me clear up my confusion between the many names, Is there anywhere I can read and get good information about the difference between the following? -styrofoam -polystyrene -- expanded polystyrene -- extruded polystyrene -poly (I'm guessing it is short for polystyrene) -beadboard -foam core Any help would be much appreciated, Thanks,
  5. Phil & Yann, Thanks both of you -- this is very helpful! I'm surprised about the SPD for the Joker HMI. I wonder if it's the same for ARRIs HMIs. - Looks much like the Osram HMI above in your post Phil
  6. Lately I've heard more and more people talk about the qualities of new LED lights, that are supposedly as color correct as a kino-flo. I guess the SPD we are going for is to be a close as possible to daylight or tungstens; A somewhat even distribution of all colors; But how close to this do the newer LEDs come -- and are there any particular brands of LEDs that are better than others? It's hard to find much information online about the SPD, only the CRI is available, and not even for all. I came across this in the ASC magazine. CRI 95+, but the SPD looks like something I wouldn't want to use as a key light. Do any of you know what the SPDs of a kino-flo and a HMI is? Thanks,
  7. Phil, I'm afraid I don't have the psd file anymore, but I can tell you what I did. I chose an array of warm hues from greenish yellow to magenta'ish red, as you see the numbers above. Then I measured the color hue in degrees. I then darkened the color in a gradient with levels using the midtone marker, I expect it would be the same as using the gamma wheel in a colorgrading software -- And used the color picker to measure the resulting color. When I exported I tried different image containers, jpeg, png etc. And this one came out looking the most like what I had worked on in photoshop. I don't remember which export settings. But when I took it back in the hue had changed 19° Dennis, those are some good points. I've never dug down that deep into the science behind it. I guess I tend to focus on the more practical side. It's an interesting read
  8. That's a good point. I guess the best we can do is to learn the limitations and faults of the software we use and find the best option to work with. Thanks for the DPX recommendation! I will run some tests. On the 20° shift -- It is very unusual. I've only had it happen once. Well actually it was 19°. This image. The color in the low left corner came out as a hue 27° when I did the photoshop test. After exporting and reimporting it read a hue 8°
  9. Phil, you mention that image containers don't care much about what you put in them, do you then know how come colors shift when exporting? I've had as much as 20° hue shifts, luminance shifts as well as saturation shifts when exporting to JPEG, PNG etc. from photoshop. It feels like some gamut remapping is going on, but I can't say. ProRes422(HQ) usually deliver very satisfactory and precise colors. Dennis, I suppose it would be a good idea to aim for a P3 gamut before reencoding to XYZ. Working with the full XYZ colorspace and exploiting the wider gamut would be counter productive if projectors cannot project those colors. Wouldn't you agree?
  10. Supervising colorspaces in different parts of the chain. As I understand it, Digital Cinema Projections are in P3 colorspace, and TV/DVD/Web is rec.709 colorspace. Then, as for the workflow. Images are captured in colorspace X (depending on the camera/stock) In the DI, images are converted to another colorspace, lets just say ACES In the master the images are then converted into either P3 or Rec.709 depending on the format. My questions are, 1. How do we know which colorspace we are exporting to? E.g. What colorspace does H.264, ProRes422 (HQ) or ProRes4444 have? Can you recommend any places to read up on this? 2. And how do we ensure to keep colors within the intended colorspace, as to not lose out of gamut colors when exporting? 3. I often use a Kodak2383 emulsion LUT when grading which clips out of gamut colors and remaps them to the closest color of same luminance. I suppose the gamut / colorspace is calculating what can be printed to Kodak2383 film. Do you know of any way that I can see / test how wide this colorspace is compared to P3 and rec.709? 4. I work with dailies & grades in photoshop as references for the colorists. Can you recommend a website where to read about color-management in photoshop as to stay within gamut, and 5. Would you recommend any specific image format. DPX, TIFF or PNG etc. for colorspace and accurate color rendition? Thanks guys, Will
  11. I've noticed that adding contrast, and darkening warm hues tend to pull colors towards red. I love dark red hues, but I've been wonder what caused this. I had my doubts whether it was a visual illusion, so I put it to a test in Photoshop. Lo and behold. According to photoshop's color science, hues do pull towards a reddish hue when darkening. This test is by no means scientific. And image compression as well as web compression will certainly make the results even less scientific. But visually the results are pretty close. What are your theories? Limited color space with automatic gamut remapping?
  12. What options do we have that have a good enough SPD (and CRI?) to qualify for high quality cinema work for d65 lighting? I know the HMI is the golden standard. As well as 85+ CRI fluorescents. - What other options are great? Do PAR lights have a good SPD? I heard that a tungsten with a CTB with a mired value that matches d65 should have some negative effects other than losing a lot of light. Is this true? Thanks guys, Will
  13. For this picture it looks like they may have used some of the same lighting as in the post i mentioned. Here are some bts shots from the scene: Here they used 40'x40' truss frames fitted with 24 DMX-controlled 6K space lights and skinned with Gelfab Full Blue Silent Grid Cloth to "provide some "moonlight" ambience", according to the ASC magazine. I'm guessing the general field illumination was done in the same way. You see some of this light hitting the front of the house as well. + You can clearly make out the 'vignetting' from the light. Other than that it looks like they have a backlight that hits the top of the house and also the actors. Here is another bts shot: Here the "moon box" is further supported by two 12K HMI Pars, and ArriMax on a 125' Condor and two 15-light Beebe Night Lights. My guess for your reference, they used the "moon box" and 2 smaller lights to give backlit shape. One on the house and one on the actors
  14. Hard to say with so many images -- But there's definitely a lot of backlit haze/fog in all of them, creating the separation by having a light background and dark silhouettes, more or less in all of them. I read somewhere that they used giant cranes for some night scenes in Django -- massive structures to cast illumination over greater areas, I'm guessing to simulate moonlight. I think it was ASC magazine, but it was another night scene. -- I can find it if you're interested It may be easier to go in detail with one scene in particular. I don't see the screen from Django with a house that you mentioned. There's definitely a saturated blue color to the shadow region, but it's not affecting the skin. Maybe it's a key in post. Perhaps the background is lit with cooler lights. It kind of looks like it's something achieved in the DI though. I agree with you, those are some pretty gorgeous night scenes. It looks like I may have to watch AVP! :)
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