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Anne Bauchens

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  1. Really... A background check? Who are you? Gestapo? That's what you do when you have nothing to add?
  2. Calm down no need to get tensioned I'm concern about your health, you are the most active in all forums, no need for you to have the last word in every subject, art is about exploring and learning new methods even if doesn't technically make sense to you David. The only situation where recomposing a shot by 200% is justified (THE DP WAS NOT ON SET)
  3. I don't think blowing 200% to get a close up is considered recomposing, i would think its intentional "effect", i would have to search more about this.
  4. I don't agree with what you are saying, Walter Murch is a cinema genius and George Lucus is technical master, they won't just improvise.
  5. Ya I got that and "Youth without youth" was not the best use the digital medium to begin with, David you had far batter results with that camera in "Jackpot" years before that film, my question is why did he and George Lucas blew up Close shots.
  6. Hi everybody, could anyone explain what Walter is talking about at the end of the video, is digital image blowup is a form of texture control? are there examples and information on this technique?
  7. I had to look up reductionist which has the perfect description of the process. Shockingly true, if you could articulate what a vanilla ice cream tase like in words, you did a big part of composing"expression".
  8. I agree but this is the least interesting part of the discussion, Marshall later covers with examples some concepts like tonal simplification, abstract form, metaphor, cultivating personal expression & more.
  9. Good day all, I've came across this discussion on the subject, i thought it may open a conversation here, they cover many angle(theories, application, history, narrative, misconceptions...etc).
  10. I'm sure the 4k is great, but bringing a face out of darkness with ease sure is a big plus, or for example working in LAB color space for extreme color shifts, a stable codec will be more handy for that. For me the area I loose on the sensor is minimal, I think these cameras are designed for people who can't afford PL lenses. But my question is do these cameras belong to the same sensor family? because that test show the superiority of the 6k raw codecs.
  11. Good day all, I had the impression that the only difference between the BMPCC 4k & 6k sensors is resolution and size, I'm planning to buy the 4k model but I'm rethinking it after reading the this cinema 5d article, I'm interested in the under exposure test, (disregarding the noise) the 4k model suffers from a some tent & brightness shift when brought back to neutral in Davinci resolve Raw tab. Dose this mean that the bmpcc 6k data is more stable can be abused more in post? any advice would be appreciated.
  12. Great insights yet its weird how the amount of writing and material in Yeldin's website is huge relative to the benefit you get out of it, he dances around the subject without really giving you something substantial that you can practically use or build on... Very tormenting
  13. Its one critical joint in the image chain yet there is no information or best practices available, I think any example would do, just to get the key elements, things like testing/creating LUTs, Raw monitoring, exposure decisions, DP colorist communication, gear...etc
  14. Good day forum, Is there any resources(e.g.case studies, videos, books, websites...etc) that demonstrate professional image acquisition workflow (from set to dailies), covering practice and equipment used in the process. I found the below so far: Capturing the Shot: Fundamentals, Tools, Techniques, and Workflows for Digital Cinematography The Filmmaker’s Guide to Digital Imaging: for Cinematographers, Digital Imaging Technicians, and Camera Assistants DITs and Data Management for Features, TV and Commercials
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