Jump to content

Anzer Sizov

Basic Member
  • Posts

    23
  • Joined

  • Last visited

Profile Information

  • Occupation
    Cinematographer
  • Location
    Moscow, Russia
  1. Hi Daniel, I've just watched the trailer. I see what you mean. According to IMDB (https://www.imdb.com/title/tt1034303/technical?ref_=ttfc_sa_5) it was Kodak 500T. It really works fine. I guess it is all about the coherence between the meaning/atmosphere/feel you want to convey and the colors/tones/hues you end up applying. An innocent pair of slightly off-colored eyes and so much to think of.
  2. Hi Mark, Again, it took a while to respond. My apologies. Thank you for your thought, much appreciated. You've made me think that grading may easily be done in a sort of 'lazy' manner, when a certain preset is applied. For instance, the "trusty" one that usually makes most of the material look both acceptable in terms of QC and "beautiful" according to the TV-people, who commission the production.
  3. Daniel, Thank you for your thoughts on post-work. I guess, one might end-up highly depending on the colorist (especially the one who's been working closely with that platform or this TV-channel). The guy might be following certain patterns that will tick the necessary boxes with the client - which may not be what a cinematographer has in mind. Understanding the importance and versatile possibilities of post-work, I still try to do as much as possible on-set. Looking in those fremen eyes again, I guess I should try harder. Thank you! I'm sorry it took me this long to reply to your posts.
  4. Hello Daniel, Thank you for such a tremendous effort. I'd go with Phil - the final grade seems to be the most appropriate for that particular scene. The guy warns her that her business (a hospital she runs) might be in serious danger because someone powerful wants that land. I've seen the first cut and noticed a very interesting mechanism. If the story is properly structured, performances are solid and the whole thing is generally engaging and believable - you get involved, you root for somebody and do not notice "the kitchen". Only when the story is weak in its core you notice the shortcomings. The grade might be perfect per-se but I guess it will never save the writing.
  5. Hello Phil, Thank you for your thoughts. I've never expected that this minor issue would provoke such a profound thinking. Appreciate that! I like the way you dig deeper into the drama and art itself, where there are no rights or wrongs, and I much appreciate the idea of consistency which defines a choice. I'll keep it in my bag. Sorry it took me quite a while to reply.
  6. Hello Daniel, Thank you for the work you've decided to put into those images. Much appreciated! It's so true - everything looks different on any display. Your grades on my display, for instance, have a warm, slightly pink tint, creating a different mood. However, the whites are perfect - so it feels natural. The director likes the blueish-green tint created by the glass of the windows of the car, though. So I'll try to work on saturation, while keeping the original tint. I don't remember if the actress were wearing contact lenses. Could those be the reason?.. I remember we used additional LED-light coming in through the windshield. I think now, looking at your grades, I should have paid closer attention to that light source. Anyway, thank you again for sharing your thoughts! A.
  7. David, Thank you! I'm going to see the guy today. Hopefully it is saturation. I've come across an article which describes a dozen deseases resulting in this eye condition.
  8. David, I wish I could boast of having worked with those folks. These actors are common Russian people with a little too much make-up on which I miserably failed to negotiate down. Is the answer really this obvious?..
  9. Friends, I have just received several pieces of graded footage. The whites of the eye went visibly blue. What could be the reasons behind that? Every opinion would be of high value for me. Thanks! A.
  10. Hi Stephen, Thank you for a valuable comment. The chance to use those LED panels is getting even thinner now, I guess.. Anyway, I am looking forward to running a little test. Hopefully, those LED panels are going to surprise all of us. A.
  11. Phil, I think all these are working solutions. However, for this one I'll stick to the floodlights. They seem so simple to handle. I've found some green ones and some blue ones. Quite inexpensive, too. The only thing that I can't see before I do it - how many of them I might need to properly cover a certain area. Hopefully, with RED sensors I won't have to use tonnes of these. I guess it's a good idea to just get a couple of those lights first and see how they work. If it doesn't work for some reason I'll keep the lights as practicals/back-lights, anyway. Thank you for your help. Much appreciated. A.
  12. Green lights designed for architectural special effects... I love it. It seems to be another good option that would never occur to me. I'll see into that. I'll pay attention to whether these lights flicker or not when we run a little test. Thank you, Phil! A very valuable piece of information. A.
  13. Hi, everybody. A production I am working with has a coupe of dozens of outdoor light panels (all identical). They pretty much look like this one: Those are 6500K LED light panels with light output of 8500 lm. Obviously, they are easy to operate, powerful, robust, cheap and even weatherproof. So, the producer asks me if we could also light our green screen with those and this question has puzzled me. Has anyone ever tried anything like that? Does it make any sense at all? With green/blue filter? Flicker issues? Any thoughts or experiences shared would be highly appreciated. The camera I'm going to use is Red Monstro. Thank you. Anz
  14. Well, I hope both of these devices do exactly what the tech. spec. says they do. I have not yet tried it myself, but this separate multi-recording feature might be a very convenient tool. Thank you for your support, Satsuki!
  15. Hello Satsuki, I think the option you offer is a very good one, thank you. I was just wondering if there is any way to record some light-weight proxies in ProRes, too - something that escapes my mind. So that no additional transcoding would be needed. I've come across Shogun 7, which could be an option with its multiple input recording. Anyway, thank you for your contribution, Satsuki. Anzer
×
×
  • Create New...