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Leon Brehony

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  • Occupation
    Cinematographer
  • Location
    Edinburgh

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  1. Hello all, I've got a lighting challenge that I'm unsure about. I'm shooting a commercial on a small studio set with a solid blue backdrop and one 'character'. For the opening I want to have a spot on the backdrop which silhouettes the character, before the spot gets killed and the main lighting for the rest of the ad faded up. My question is - in an attempt to get a solid white spotlight on a primary blue backdrop is it as simple as picking a 'complimentary' colour for the spotlight, e.g. yellow/red? Trying to apply some basic colour theory stuff which I've been reading up on but not put into practice too much yet. I'm unsure about the ability to achieve this effect in post as the character is also being lit by a dim blue light from a laptop/tablet whilst the white spot silhouettes them. Cheers!
  2. Watched the first episode of the Rings of Power series - it's alright. I like the design/costume/general aesthetics - but... When will this obsession with wide lens/shallow DOF die? I find it so off-putting. Bright day exteriors where the back ground becomes nothing but blur and bokeh... two shots with only one character in focus... Close ups where only an eye is in focus... I feel like it's detracting from the storytelling - surely lighting and composition are enough without this massive 'blur radius'. I'm also not convinced of the argument that it's a way of making digital capture feel less 'sharp and clinical'. For me a good chunk of depth of field is a thousand times more cinematic. Just ranting and I know that it's a simple flavour of the month thing but it's distracting me from nearly every modern show/film I see (the DOF shrink between season 1 and 2 of Barry was insane and I had to stop watching). If anyone has any insights into why this is happening and when it will go away I'd appreciate hearing them
  3. I created it using a gradient map in Photoshop and based it on the test images in that article. Very rough/rushed/non-scientific but seems to work well enough. Also, had a friend mention that the previous LUT format wasn't working in his camera so here's an alternative download in case anyone has similar issues: https://we.tl/t-H31mmcntb9
  4. Assuming everyone will have seen this https://www.fdtimes.com/2021/04/25/el-zone-by-ed-lachman-asc/ I'm very excited about this idea personally! Often been frustrated at relying on IRE-based interface when monitoring exposure and I can see myself enjoying a system based on stop values and something more closely resembling the zone system If anyone is interested made a gradient map .cube LUT version in PS. It's rough around the edges but I tested it against a V-log, log-c and BMD Film using 18% Grey cards for reference and it seems to correlate in a basic way: https://we.tl/t-D5WXAfJp89 (apologies, the colours are a bit off but it's close enough to be useful)
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