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Tiago Pimentel

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Tiago Pimentel last won the day on November 2 2018

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About Tiago Pimentel

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  • Occupation
    Director
  • Location
    Lisbon

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  1. Hey David. In my case, with my camera, I feel like I can't really push saturation too much if the image is dark. Otherwise it will introduce that horrible chroma noise. But in dark scenes, saturation should be low anyway, so... I was just curious as to how other DPs were approaching dark scenes. One question: if you're using a camera rated at 800iso, would you use 200 or 400 for a dark scene?
  2. Hey Stuart. Yeah, I forgot about dailies, they are always the main "issue". I was mentioning flagging because if you light a dark scene and expose it to have the skin tones falling where the camera is "expecting" them, then a lot more light is needed and, as such, a lot of flagging to keep ratios clean. But what you said makes absolute sense. But not all cameras deliver clean footage in a dark scene.
  3. Hey guys I was curious how you are handling exposure with digital cameras, particularly with dark scenes involving people. Most cameras will render great skin tones if skin is exposed for 70IRE, but can mess everything up if set is lit and exposed to the end result. So my question is: are you exposing skintones for 70IRE or close and then pull everything down in post (a nightmare for any gaffer because of all the flagging he'll be doing) or do you expose exactly how you want it to look? Or maybe something in the middle? Thanks!
  4. Hi, Thanks! Yeah, you're right about the text at the end. I will correct it. When you say the guy at 0:53 looks choppy, is it because of the jump cut of him already partly in the frame? Thanks!
  5. Hi! My new director/DP reel. Hope you guys enjoy. Thanks Tiago Pimentel
  6. Ah yes, completely agree with that! BTW, how do you correct for contrast in digital sensors? Do you create a custom LUT or use the contrast ratio with pivot? Or maybe a luma curve? Thanks!
  7. Could you elaborate a bit more on that, David? 🙂 Thanks
  8. Thanks! Good advices. Exposing with digital sensors kind of changed a lot of the reality in the way we light. Are you guys using practicals (not everytime of course) as main lights or just as motivation for other bigger lights? (not counting HMIs for sun light). I've been reading that more and more DPs are using practicals on their own to light a scene.
  9. Hey guys, How are you exposing skintones on a digital sensor? I know the principles should be the same as exposing for film, and a skintone should look good most of the times if you're using something like False Color to nail exposure, but sometimes you need the scene to be dark. Take the example below. Would you expose for the "right" skintone (let's say around 70 IRE) and take it down in post or would you expose for the end result? I'm asking this because digital cameras interpret skin tones differently according to where they fall in the waveform and sometimes, if I expose for the end result, I get very little headroom in post to push some colors without unwanted noise. Here's an example:
  10. Hey guys, So what motivated to start this topic was the fact that most interviews I see online (even tutorials) don't quite nail the backlight effect that they mention in those videos. Most of the tutorials I find, the backlight seems to fall short from effectively making the talent pop from the background. Most of the times, I feel the backlight wraps around the key/fill light too much. I'm looking for those razor sharp, beautiful cinematic Conrad Hall kind of backlight. So, I was wondering what is usually your approach to get this kind of backlight when shooting a cinematic interview? My feeling is that most people are using soft light as back light and then point it at the talent as if it was a hard light. And that makes it wrap too much for my taste. So, I would say hard directional light as backlight is the way to go. Also, maybe using a warmer color temperature might also help with color contrast against key. And definitely more intense than key. As for positioning the light, that's always where I struggle most. Where and how high do you usually place it, without making the light spill too much to the top/front of the talent while avoiding veiling flares and other stuff like that? Here are two examples of what I mean (second example is over the top, but it's great to really highlight what I mean): Thanks!
  11. Thanks David! For this Mulholland Dr effect, what strength of Hollywood BM would be more adequate? 1/4? Thanks
  12. Hey guys The trailer is out: Thanks for watching Tiago Pimentel
  13. David, you're absolutely right. I meant a filter that would affect more the highlights than sharpness. Because for this net filtering to work, I feel you need to start with a really sharp lens, otherwise the image would look too soft when the desired halation is reached. On the other hand, soft lenses also tend to halate more, so maybe things would balance each other.
  14. Thanks David. Any particular filter you like that could recreate this effect? Something that could make the highlights glow like that without affecting sharpness.
  15. Hi guys, Anyone knows what diffusion Deming used on Mulholland Drive to capture that Hollywood glow? And what would you use on a digital camera to achieve the same? In case you don't remember, here's the trailer. Thanks Tiago
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