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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
  • Location
    Lisbon
  1. Hello! We should have a trailer soon. Color grading work has just finished by our fantastic colorist Juan Melara. A few stills:
  2. Thanks guys. The film has reached picture lock and it's currently going through sound editing which should finish by the end of next week. We have the grading going at the same time, so I'm counting on having the film completed by the end of this month. Here are some stills and BTS:
  3. Thanks Giacomo. I am very happy with what we shot! I have a question for this forum, especially those of you who already worked with Alexa footage in post. Do you use the Arri LUT generator to bring the footage to 709 or do you grade from scratch in the raw tab and do the secondaries in nodes? I read somewhere (I think it was Arri website) that Alexa footage (LOG-C of course) should be used in conjunction with one of their LUTs, because it's the only way to uncover their color science. I've tried different LUTs from their website (including the one in Resolve) and they all look the same to me. Any thoughts? Thanks!
  4. Thank you all for some great input. Most of the production is over and I was looking at some of the stills. These are just log to rec709 factory LUT.
  5. Yeah, we'll definitely block the windows to shoot during daytime. Can this actually cause IR contamination? I'll take an IR cut filter and put it in all the time. Won't hurt to use it... Thanks
  6. Thanks Stuart. Do you know if the REC709 monitoring in Alexa is similar (or the same) as the Arri Log C to 709 LUT that comes with Resolve? Thanks
  7. Stuart, that was actually something on my mind. Have you ever rated the Alexa at iso400? Theoretically it should give some very clean shadows, so I'm interested in that. Never done it myself, though.
  8. Hey Stuart! I want to shoot at a low T stop. I'll be using the master primes, so I'll probably want to shoot at T1.3 to keep a very shallow dof and accentuate the soft light look. To do that, I'll probably have to use at least a .6 ND. I was thinking of taking a set of IRNDs anyway. Shouldn't be a problem to use them instead of classic nds, right? Thanks!
  9. Guys, just two more questions concerning the Alexa XT (camera that I'll be using for this shoot): 1 - for monitoring, do you simply use the REC709 viewing that comes with the camera? 2 - Not sure how's the IR pollution of the Alexa, but better to use IRNDs instead of simple NDs, right? Thanks
  10. David, so you have the same opinion as Stuart. This was probably done with an iris pull to overexpose the lightest parts of the image. You also said they are already semi spot lit? How so? Edit: just got what you said. Would you say the only light source is that spot on them? Thanks
  11. Thanks. My main question here is how did they concentrate the glowing effect mainly on the two actors. Is it a combination of a softlight source with eggcrates and the fact that they're using white (hence overexposure is faster than the rest)? And I wonder if the same effect could've been achieved without them using white. Thanks!
  12. Hey guys, Very curious about how this simple, yet beautiful effect could be achieved (check from 1:10 to 1:50): There's obviously more light hitting the actors than the rest, so probably softbox on grids. Anyone knows if this kind of magical glow could be achieved on digital and with the actors not wearing white (which is obviously helping them to stand out in brightness levels). Thanks
  13. Thanks for the heads up Giacomo! Actually, her hair is tinted, she is a natural brunette. I was looking at the pictures I took from the room and I think I'll need to get some diffusion on the lamps to attenuate a bit of the effect on the walls. Do you guys usually use a stronger diffusion on top than on the bottom part of the shade? Thanks
  14. Guys, the rental house doesn't have any litemat available for the date of my shoot. They offered a smart light motion SL1 as an alternative. Anyone knows if it's any good? From what I can tell it's not bicolor, but I'll just need tungsten anyway...
  15. Thanks David. I'll take one or two litemats with softbox and grids then. For closeups I do love the softness of bounced muslin. Below is a shot lit by Deakins, from No Country for Old Men and I remember reading on his site, that he used bounced muslin to light his face. It's remarkable that almost no light hits the back wall. Any idea how he did this? Btw, since I'm shooting in a relatively small room (270 square feet or 25m2), I wasn't thinking of taking very potent lights (if using tungsten, I'll probably take 3 x 500w). If bouncing on a muslin frame, to get it all lit, it'll probably take all 3 fresnels, right? Cheers Tiago
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