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Alexandros Angelopoulos Apostolos

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Everything posted by Alexandros Angelopoulos Apostolos

  1. Alexandros Angelopoulos Apostolos
    It seems that in cinematography there’s hardly an instance where a DOP wants some kind of colour cast. Instead, it’s as if the main goal is to first shoot everything as neutrally as possible, setting up contrast ratios and stuff like that, and then mess with everything regarding colour in post. Or something like that. But these reflectors seem to be pretty subtle. Perhaps that’s my answer: if they’re subtle, hardly different than a white bounce board, then why use them? Then there’s the impression that everything these days is going for dark and moody, as opposed to light, feathery, and sunny.
  2. Alexandros Angelopoulos Apostolos
    Once again, an inexplicable vanishing of a part of the thread title... :blink: :wacko:
  3. Alexandros Angelopoulos Apostolos
    I stumbled upon this behind-the-scenes photo of the Transformers: The Last Knight and saw the grip holding a gold reflector. I know that for many of you this is probably nothing extraordinary, but I didnt really find many instances of it being mentioned in an interview with a DOP or something like that. The Last Knight really did have some lovely tanned, copperish skin tones in some scenes, and I wonder if at least in part that is thanks to the gold reflector. So I wanted to know is it really rare or not rare at all? Are there any DOPs that are known to use it whenever the scene might call for it or be suitable for its use? Then I saw that Manfrotto offers some other possibilities: Sunfire, Sunlite, and SoftSilver: https://www.manfrotto.us/30-tri-flip-kit-2-stop-trigrip-diffuser-7-colors https://www.bhphotovideo.com/c/product/418586-REG/Lastolite_LL_LR3696_TriFlip_8_in_1.html Some Web sites, however, seem to show that Sunfire and Sunlite are not uniform, monochromatic, but rather striped, coming in two colours. Or maybe Im not getting something. Sunfire seems nice, though I cant firmly say which one I like best. I presume that these reflectors are mostly used by portrait and wedding photographers. I know that white, silver, and black are the most widely used, but what about the others? Anyone tried them? Anyone saw them used or mentioned somewhere? I remember that I asked David and Satsuki about the checkerboard reflector in some thread around here, and I think that they said that they seem to recall perhaps Deakins using it somewhere. https://www.filmandvideolighting.com/6x6chregolim.html http://www.filmtools.com/6x6chlacat30.html http://www.cinemagadgets.com/productdetail/465
  4. Alexandros Angelopoulos Apostolos
    Seeing this thread, I’m almost sorry I didn’t keep banging on about colour correction in and the look of Midnight in Paris, To Rome With Love, and Magic in the Moonlight. :lol: :ph34r: I know everybody loved when I was doing that. I should have opened at least a few other threads – I might have got a recipe in the end. :D Or got the great Joe Gawler himself to register as a member here and write about what he did in those movies. Yeah, I wish. I can dream. So I understand where Fatih is coming from, and I expect that after a while he will realize what has been said in all those threads so far. :) And that things won’t change when it comes to looks of films they he would like to. I was hoping that the mention of how colour correction had a lot to do with look in that other thread would explain a lot to Fatih.
  5. Alexandros Angelopoulos Apostolos
    Thank you, Phil, for using the vocative comma. It is one of my pet peeves when people don’t use it when it’s needed. Vocative → comma. So simple. Don’t know what’s the problem. So what's it gonna be: run of the mill or gorgeous? Somehow from the trailers, I think I shouldn't keep my hopes up.
  6. Alexandros Angelopoulos Apostolos
    Correction: Obviously, not Piazza de' Fiori, but Campo de' Fiori, the famous square in Rome.
  7. Alexandros Angelopoulos Apostolos
    Well, I was trying to think of an excuse yesterday regarding this, but then opened the thread this morning, and there went my theories. One theory was: I thought it was some sort of a try to delineate the building’s shadow. And other that it was a rush job: Joe was probably having too many projects at once, had not much interest in this, and hurried his way through it. Regarding the geography of the location... The scene was shot at Piazza de' Fiori in Rome: https://www.google.com/maps/@41.8952584,12.47229,20z/data=!3m1!1e3?force=lite So the scene is looking towards west. And somewhere in July, the Sun would be setting somewhere along the Via dei Cappellari, the street you see at upper right section of the frame.
  8. Alexandros Angelopoulos Apostolos
    Yeah, it happens. I wasn’t trying to be mean when I started this; I just never encountered such a thing and thought it might be interesting. I actually found it long ago and the Star Wars soft-focus thread reminded me of the error. Just to clarify that when I wrote about something being composited and glued onto in the post above I was of course referring to the car. :) Its outer edges give the impression that something happened here, probably as a result of colour correction. Perhaps someone else has a Blu-ray of the film and could check if his/her version of it has the same error. :) LOL @ the SyFy channel watermark leftover. Funny. :D
  9. Alexandros Angelopoulos Apostolos
    And P. S. it’s not a blip – you can see the error lingering even when the actress walks into the frame.
  10. Alexandros Angelopoulos Apostolos
    Landon, do you really think I would fabricate this? The screen capture comes from the film To Rome With Love. It happens just before 00:12:00 time stamp. How this got into the end version of the film I do not know. Now that you say it, perhaps it doesn’t look composited, it just looks weird because of color correction applied that makes it somehow stand out and appear almost as glued onto the scene digitally or otherwise.
  11. Alexandros Angelopoulos Apostolos
    Whew, that was a relief. :D I thought people would rile up against me. I seriously had a bit of an issue with the effect at times, especially if the recipe was shot at night (or perhaps I should write “night”). It’s definitely not wrong, but perhaps I would’ve preferred a tiny bit larger depth of field.
  12. Alexandros Angelopoulos Apostolos
    Are the two of you seeing two distinct differently coloured areas on the pavement? :ph34r: I thought it was an error in the colour-correction process, but now that I see compositing mentioned (never would’ve seen that the car was composited, but now that you mention it, it is so obvious), perhaps it was that – compositing, not colour correction. And the title of the thread is a reference to Phil’s thread: not only does soft focus happen, something like this above happens, too. I hope I explained it. :D
  13. Alexandros Angelopoulos Apostolos
    Is anybody here using this app regularly? https://itunes.apple.com/us/app/helios-sun-and-moon-position-calculator/id311648870?mt=8 Is it more popular with DOPs than PhotoPills or SunSurveyor? I saw Robin Fox use it, so I was intrigued. https://www.instagram.com/p/BEFjMraABlQ/
  14. Alexandros Angelopoulos Apostolos
    So I was watching some clips from Nigella Lawson’s most recent cooking show, At My Table, which aired on BBC Two in the UK, and I’m kind of torn between it looking gorgeous and there being just too much bokeh. Sometimes it felt like there was just too much of it and that the field of sharp focus was just too small. There could be, I think, a limit after which it’s just to painful for the eyes to watch. http://www.bbc.co.uk/programmes/b09d980t/clips These clips are probably only visible for those in the UK. Perhaps these YouTube ones might work – YouTube will suggest other clips from the show: The cinematography was handled by Robin Fox, just as it was in the previous show, He seems like such a great guy in this little video about how Simply Nigella was shot and lit: http://www.newsshooter.com/2016/06/21/sheffield-doc-fest-2016-robin-fox-on-shooting-and-lighting-simply-nigella/ (When I was watching him speak, I was reminded of Prince William: they both seem to have this particular way of shaping their lips when talking. Don’t know if that’s something that a certain [tiny] part of the UK population do.) EDIT: Oh, no! How does this happen?! Somehow part of the title got clipped off: the title should be “Is there such a thing as ‘too much bokeh’”?
  15. Alexandros Angelopoulos Apostolos
    This is another thing that happens sometimes, I guess.
  16. Alexandros Angelopoulos Apostolos
    Diffusion panels: Frost?
  17. Alexandros Angelopoulos Apostolos
    My thoughts exactly. But then again, perhaps I do think of 65 mm stock as sharper in theory.
  18. Alexandros Angelopoulos Apostolos
    How about some Dean Cundey? I’m embarrassed to admit, but I only learnt through Home Again who he is. I liked how this candy of a film looked, so I googled him. The whole film has this glorious warm, sunlit look, with touches of pinkiness: http://elizabethstreetpost.com/set-designs-of-the-new-nancy-meyers-movie-home-again/ http://insidehouses.net/2017/08/30/inside-nancy-meyers-home-again-house/ https://lindamerrill.com/2017/06/16/nancy_meyers_home_again/ https://www.architecturaldigest.com/story/nancy-meyers-and-hallie-meyers-shyer-tell-ad-the-secrets-behind-the-set-of-home-again Check this brief clip here. Or this clip here Trailer 1: Trailer 2: Blu-ray out December 12th: http://www.blu-ray.com/Home-Again/734947/ http://www.blu-ray.com/movies/Home-Again-Blu-ray/188671/ One lighting setup:
  19. Alexandros Angelopoulos Apostolos
    There is also a piece, penned by Storaro himself, in the December issue of American Cinematographer, which I’m sure you’ve all read by now. https://ascmag.com/current-issue https://ascmag.com/articles/whos-afraid-of-red-green-and-blue
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  23. Alexandros Angelopoulos Apostolos
    Amazon posted some some more clips:
  24. Alexandros Angelopoulos Apostolos
    I asked in a post above, #15, which camera were they using for that film, but no one seems to have seen it.
  25. Alexandros Angelopoulos Apostolos
    A few bits from Storaro: More in Variety.
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