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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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    Director
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    Lisbon

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  1. 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!
  2. Thanks David! For this Mulholland Dr effect, what strength of Hollywood BM would be more adequate? 1/4? Thanks
  3. Hey guys The trailer is out: Thanks for watching Tiago Pimentel
  4. 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.
  5. Thanks David. Any particular filter you like that could recreate this effect? Something that could make the highlights glow like that without affecting sharpness.
  6. 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
  7. Thanks guys. Anyone knows if there are any real and pragmatic differences between the Zeiss Contax, Milvus and Otus lines? There sure is a huge price gap. Just wanted to know if it's optically relevant. Thanks!
  8. Stuart, would you recommend the contax Zeiss instead? Any other recommendation on a set of primes for a similar price tag? Thanks
  9. That is bad, Stuart. I've read so many good things about that Zeiss glass. People usually rave about the Contax Zeiss which is basically the same as the ZF and ZE. I think the T* coating on the Contax might help with more organic flares. Was the problem with the highlights related to purplish flares or was it more about fringing? Were the lens wide open?
  10. Thanks guys. What would you say are the main differences between the Zeiss Zf.2 and the Leica-R?
  11. Hey guys. I'm looking for a set of primes suitable to render a modern and snappy look that we're used to getting in Netflix and other platforms. They need to have that sharp but organic look. Whatever set I end up choosing, it's going to be used with Ursa Mini pro cameras with Ef mount. I'm torn between the Zeiss Zf.2 and the Leica-R though I never tried the Leicas. Any suggestions? Thanks!
  12. Hey guys, I'm looking for a set of prime lenses that will be my main narrative go to kit. My reference are the Zeiss Master Primes, but of course this is a kit that I want to own, not to rent. I was thinking maybe the Zeiss ZF/Contax might be a good alternative. Whatever kit I choose, must be adaptable to an EF Mount and must be great at rendering skin tones. A lot of people say skin tones are much more of a sensor thing, but I've tested lots of different lenses and they all perform differently on the same camera. Thanks!
  13. Tyler, thank you for taking the time to comment. Yes, doing a film that tries to convey a lot of its mystery through a poetic and enigmatic VO is always a struggle and I understand a lot might be lost in translation. Not that the subtitles won't translate the feeling, but there are some things that need to be felt, instead of just read on a subtitle. We are actually thinking on doing an "international" version of this film by recording the VO in english. I know I'm biased, but I really like this project and I think it has a very powerful subject. Let's hope the english VO might help 🙂 Cheers and thanks!
  14. Hey guys, Just finished a new short film and I wanted to share with this forum. It's not traditional when it comes to its narrative form, but we took extra care to make it look very sober and elegant and avoided the hyper realistic look that is usually present in this kind of subject. Hope you like it and please, feel free to comment and also to share your experience as to which film festivals we might be lucky with this movie. pass: insidescreenerfc Thanks! Tiago Pimentel
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