Gabriel Wilson

Shooting tomorrow on Canon 1014 XLS Super 8mm. curious if anyone has advice on what shutter angle to use when shooting 24fps?  220 or 150? or should i just stick with 18fps? 

Thanks so much for the through  explanation. I guess my only other question is there another stock low-contrast LUT or its something I would have to create myself?

Trying to be more clear I guess I am asking when one shoots a night scene where do the shadows usually fall so you don't crush the blacks but it still looks natural.

Apologies, I meant add fill and crush. But your suggesting to not do that If I am using the built in rec.709? In reference to the shadow area is there a suggested IRE when you are trying to avoid noise or is it more a matter of taste? 

Ideally want deeper blacks from the display. In rec.709 does it make sense to over expose the blacks on the display LUT? Can false colors help expose blakc level?

Interesting. I usually monitor rec.709 on the mini. Any other build it LUTs not sure I will have time to build one before the shoot.

My workflow is  log C for most of the shoot. Curious if anyone has other suggestions

I have been tasked to shoot a very moody film on Alexa mini. I am familiar with the camera but want to get the most out of the camera in low light/night scenes. I am curious how people expose for low light night and if I need to change any camera settings during the night scenes. The film has a lot of contrast and I want to make sure I don' crush the blacks too much .

When using false colors to monitor exposure on the Amira. I was curious if the colors re-map depending on if I am monitoring Rec709 or Log C?  Am I looking for pink skin tones with both? Also is there a convenient way to look at lighting ratios with arris false colors? My small HD monitor uses the same IRE scale and calls it  "Arri false colors" does it matter if I am sending it a rec709 or log signal in how I interpret it?

Looks like they also stacked Tiffen smouque and Hollywood Blackmagic filters when the image felt too clean.

I am guessing they are getting a different look maybe between rating higher and compensating in post. Here is the quote from the DP I am referencing.

"I shot the Amira at 3.2K which is close to open gate and most of the time, set the ISO to 1280. Then we would underexpose on our meters several more stops depending on the lighting scenario. Our DIT would wirelessly LiveGrade the image via a Teradek Colr which allowed us to, in real-time, push the grossly underexposed image back up to a normal exposure. Basically, we were able to perform a push process the same way one would on a film negative, but digitally and on set, with live feedback"

A director I am working is interested in creating a similar look to the television show “Atlanta”. So I wanted to get as much information on the look. I am familiar with the show's production through various interviews with the cinematographer. Through this, I have learned they shoot with an ISO of 1280 underexpose a few stops and then push it back to normal through LUT boxes for real-time viewing. I will not have the ability to do this on set and was curious if anyone had any thoughts on another way to achieve something similar? Or at least soften my correctly exposed image in a similar way through filtration? I know this will not achieve the same effect but just throwing out ideas. Regarding lens choice, the show is shot on Kowa Spherical primes which are unavailable during my shoot. I have looked at Cooke Panchros and K35’s as alternatives and wanted to see if anyone had other suggestions.

Shooting a short mostly outdoors. Looking for some tips on c300 MK II exposure. I am used to Alexa/Sony Workflow have heard I need to protect highlights more. Do people suggest Clog2 or 3.

Wanted to hear thoughts on sun placement for daytime exteriors. Do people primarily backlight with the sun? I am currently scouting in harsh midday light ( among other times of day).

Anyone find UV haze filters useful. Shooting something in bright sunlight and sometimes notice some atmospheric haze curious to hear what filters people would use in this situation.

Agreed. Any thoughts on sun position?

This July I am shooting a film in Greece. There are numerous daytime exteriors, a similar look and tone to "Call Me By YourName" (although not on film) we are shooting Alexa Mini. And this is a low budget short. The sun is going to be overbearing and I have a limited amount of time and crew so can't spend the whole lot of time building overheads. I was curious to hear any insights into how to light in such harsh conditions. and If I am able to diffuse the sun the best way to key and fill. Also any insight into "Call Me By Your Name Would be great.

Re watching "Punch-Drunk Love" as I prep to shoot a dark comedy in a few months and wanted to look at the camera movement. Can anyone tell me how much was shot on Steadicam and how much is dolly? Any behind the scenes shots? would love some other comedies for reference. The push in's seem so smooth but I am assuming they are still Steadicam work?

Right but on the cine mode versions there is also an option for frame rate. I am asking if the meter just assumes 24?

I totally understand shutter speed and hot to calculate. I am just figuring out on a non-Cine light meter how you input frame rate? or if it is constant?

what about frame rate?

I just purchased a new Sekonic L-858D it is a wonderful tool but I am wondering what I am losing if I exchange the item for a used meter without the cine function. I know I wont be able to use shutter angle or frame rate. Will a meter with out the Cine mode only be able to meter at 24fps? Im also curious how to check the calibration of a used meter. Thinking about the 608 potentially?

My little L-308DC seems to have drifted. Is it possible to recalibrate on my own. If I were to purchase a knew one I am looking at L-478D-U any thoughts? Is buying a used meter a bad Idea?

Yes going to test. Im just a bit confused about the colorspace Redgamma vs redlog are they basically just Mluts? if its still recording underlying raw?

ISO sweet spot? Gamm curves?