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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 guys, In a time of quarantine and trying to live a new kind of "normal", I did a video/documentary of what it's like to work with two kids at home. Important to say that, since I'm doing this at home (and I don't own any lighting), no artificial lighting was used... Hope your like it and leave your feedback here 🙂
  2. Thanks Phil but actually, besides horizontal flare and oval bokeh, what I really like about anamorphic is the subtle image distortion because of the squeeze/desqueeze of the 2xfactor. Did you try the isco Red projection lenses?
  3. Hi guys, I'm looking into getting an affordable but real anamorphic look for some of my projects. I have an Ursa Mini camera Ef mount and my taking lenses will probably be contax Zeiss glass. I've tried the Slr magic anamorphot 2x but wasn't truly satisfied with it. After some reading the isco micro Red is supposedly the best "affordable" option. I quoted that because I can only find it in a store in the US and for a projection lens it's heavily priced (especially with the single focus system which is vital). What do you guys suggest? Thanks
  4. Thanks David. I already own a Hollywood Blackmagic 1/4 so buying a Tiffen Black Satin would be a bit redundant, right? Those Double Fog filters you mentioned look promising, but I can't find a "real world" video that shows that filter. Will look harder. Thanks!
  5. Thanks David! I was also curious about the Tiffen Black Satin. How is this filter different or similar to the Low/Ultra Contrast filters? Thanks
  6. Hi guys, I ended up buying a Tiffen Low Con 1 to test it with my Ursa Mini camera and I have to say I do love the look. I don't think it's as simple as just lowering contrast. It's doing something to the way everything rolls off (especially the focus to out of focus areas). Everything looks more natural and less "digital" to me. I wanted to try the Ultracon to see the difference but the strength that people usually recommend (Ultracon 2) is not available anywhere. Do you think I should go for 1 or 3? Cheers Tiago
  7. Thanks Miguel, glad you enjoyed it!
  8. Hi, Did this shorter version of a short film I directed last year. It got much more enigmatic, but hopefully the final "twist" really shows what this short story is all about. Hope you enjoy it and please share your comments, critiques and suggestions: Password: inside2020 Cheers Tiago
  9. Hey guys, I am currently interested in trying a filter that might allow my digital camera (Blackmagic Ursa Mini Pro) to achieve a more pleasant rolloff from shadows to highlights. I know that with controled lighting we can get close to whatever look we want, but sometimes (especially with strong sunny days and high contrast situations) the rolloff gets too "digital". So I've been reading a lot about contrast filters, especially the ones I mention below. Tiffen Low Contrast Tiffen Ultra Contrast Tiffen Satin I know they are different and the best would be to rent and try them out. Unfortunately, I can't even buy them where I'm from, so this will have to be an online purchase as informed as I can get it to be... So here's what I want from these filters: 1 - pleasant rolloff in high contrast situations 2 - subtle glow of hot spots (preferably not enough to make the filtered look too obvious) I'll be using them with Zeiss ZF.2 glass. Thanks for helping! Tiago
  10. 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?
  11. 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.
  12. 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!
  13. 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!
  14. Hi! My new director/DP reel. Hope you guys enjoy. Thanks Tiago Pimentel
  15. 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!
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