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Saikat Chattopadhyay

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About Saikat Chattopadhyay

  • Birthday 11/13/1993

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  • Occupation
    Cinematographer
  • Location
    India

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  1. https://juanmelara.com.au/ This guy manages to do both and he worked on pretty high budget commercial I guess. So if you are good at it may be you can .
  2. Isn't the stops of dynamic range dependent on ISO? Like in the native ISO dynamic range is equally spreaded on both Shadow and Highlights . However,as we stop down the ISO we get more stops in shadows rather Highs and opposite result for ISO increment? I came across this great video by John Hess. He tested with different ISO to measure stops .
  3. Although I am from Electronics Background but I am not sure about my answer: A digital sensor might not measure any wave property i.e. wavelength or frequency . Tools like Spectroradiometers can but they cost more than mid range cine cams. Sensor has photosites(in short diodes) and 2,4 or more photosites make a pixel. Photosites convert photon energy (light energy) to electric and voltage is measured in sensor . That measured voltage is sent to ADC and other components . RAW data doesn't have any chroma subsampling and workflow is same as David mentioned because there is no chroma component before bayer pattern. However, RAW can have compression just to save space. In Y'CbCr/YUV the CbCr components are 'Chroma Difference Blue' and 'Chroma Difference Red' ,which actually means how much they differ from the green component while keeping the luma same. However,I don't have any idea about how much chroma component is there in luma or how it is calculated ,I just know in subsampling the luma component is kept aside and YUV Broadcast model was first coined to keep BW and color TV models running at same time. Hope this helps,corrections will be appreciated.
  4. I am not sure but I think a log can also be a multi gamma function. Brands modify the shoulder and knee regions in log gamma to squeeze more and more details . However, a gamma is not color space or equation ,it is the power in the equation. In a CRT input output response is denoted by something like I=V^y (think 'y' as gamma,I don't have greek letters in my keyboard) . For the time being you can refer to this article that I found recently ,it is very informative and easy to grasp: https://www.thebroadcastbridge.com/content/entry/5246/looking-deeper-into-log-gamma
  5. I use to study mainly commercial works by DOPs from their website or from the Ad itself . This happen to include DPs from my country as well and I quite go through their works a lot. However , I started noticing that the direction and overall intensity of light on set look exactly same in almost all (I mean Ads in same Genre) . Only some difference in set design is there to confuse you . My only guess is what Stephen mentioned ,that the light setups are already there and they just go there and roll the camera. Most of them just show off with the cameras they touch ,which are eventually setup by some other guys . There is a DP ,working in high budget commerial ,said that he uses False Color to get perfect color in his works when asked in an interview. However, this might happen because of the unnecessary deadlines by client or agencies and also the fact that these guys take everything for granted . Their 'people-won't-find-mistakes-anyway' attitude is also a big concern .
  6. Thank you for this informative piece!! Yes, Barry Lyndon is definitely a bliss to watch . But in the Church Scene from the blog the light fixtures were very prominent unlike this scene,even the DOP mocked about it by saying 'it was like multiple Suns out there'.
  7. Thanks for the other explanation ,that has helped a lot. The fact that confuse me is ..if the light has to go out of frame then it must be in some angle and the direction of light will be changed accordingly . So in that case Sun position will be a considering factor as well!!
  8. Hope everyone is staying safe. Kindly let me know if this has been discussed before or not suitable for this section. I was going through a blog by one DOP and he had to shoot inside a church . There were two possibilities, one to throw lights from outside or to place them inside and match direction, intensity etc. However, due to budget constraints he couldn’t rig the lights inside and placed them outside. Now in the parallel dolly shot (with windows) every light was visible but as the windows were closed it didn’t look completely unnatural. Coincidentally the director liked that shot and didn’t even care about this. Now my question is how can one avoid this situation when the window will be in frame (let’s say the camera is in eye level) and the light would have to be placed outside that window. Along with avoiding blown out and diffused window frames. Thanks in advance.
  9. I believe the best bet is to rent out cameras if possible but it is just a choice. Also the Komodo has CMOS and Global Shutter using CMOS is relatively new technology. However , I am not sure how frequently one would experience rolling shutter effect (jello) in limited FPS. Even in global shutter the camera would be limited to 120, unlike a Phantom. Also 6K$ for body only and single card slot without xlr inputs, bit pricey . Moreover, it has compressed RAW formats and ProRes is limited to HQ internally. I am not trying to say Komodo is a waste or whatever, just that if I had the money I would go for URSA G2. 10-12 bit ProRes should be enough to take stress in post imo. If the target is 6 inch color inaccurate phones or say some TV screens then most of the mid-budget cine cameras will do the job,however, if it’s for a 70 feet IMAX or True HDR displays then one would need much more than ‘ just a camera ‘ I believe.
  10. Let’s Kill All The Lawyers (1992) : First feature length film to be edited Digitally Some more cool facts here : https://www.premiumbeat.com/blog/fun-facts-and-dates-in-digital-editing-firsts/
  11. Thanks everyone, the idea is bit more clear now and I can plan ahead. Will run tests and check how much I can pull off . Thanks again,stay safe!!
  12. Thank you for the article, the setup seems pretty complex to me or may be I am too dumb. Still it helped me understand some of it.
  13. Thank you for the comment ,much appreciated ! One thing I noticed in all of these that the overall space is very evenly lit. Will the light feel directional when I use a single large source from one direction?
  14. I am unable to edit the post for some reason,you may use the dropbox links as well : Film: Her , DP: Hoyte van Hoytema https://www.dropbox.com/s/blfx8mr9mu97i4n/Screenshot 2.png?dl=0 Film : Portrait of a Lady on Fire, DP : Claire Mathon https://www.dropbox.com/s/n4bvxnse4lcp07j/ScreenShot 1.png?dl=0 Film: Never Look Away, DP : Caleb Deschanel https://www.dropbox.com/s/x4pbeek5yb5xgbw/ScreenShot 3.png?dl=0
  15. Please let me know if this post is not suitable or has been discussed before. I am trying to build a demo for high key interior lighting and I have found some stills from movies which mostly matches my requirements. However, I am not saying to light up a set/location exactly like them, neither I have the expertise nor the equipments. These are mostly cowboy shots and to light up this wide I need to have many lights to fill the overall space along with lighting the talents. I can rent very few lights and diffusers but I have seen overhead rigs for this type of lighting(may be wrong) which is not possible for me. So my question is : what can be a good way of lighting an interior like this ? I might use sunlight ,let it in with some modification , but shot matching will be difficult due to movement of Sun or weather changes. Kindly use the drive link to view the screengrabs (apologies for poor quality) : Film: Her , DP: Hoyte van Hoytema https://drive.google.com/file/d/1hjOUcnF4torL4i4ppa09r79C6mEaqCL1/view?usp=drivesdk Film : Portrait of a Lady on Fire, DP : Claire Mathon https://drive.google.com/file/d/1hacJJBcH3Q_rg3Azpej9jHUl-zbutMyR/view?usp=drivesdk Film: Never Look Away, DP : Caleb Deschanel https://drive.google.com/file/d/1hmr6j7yyeb8CsTUEks8PJTbrhkmcVBjN/view?usp=drivesdk
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