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William Loekken

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  1. This is some good feedback David, I am by no means making a claim that no one is trying hard enough - I don't know much about what post houses and studios are doing to be frank. I think their work is incredible, and agree that many films intercut film and digital seamlessly. But no, I haven't seen a film shot entirely digital that I felt could have been film - I also don't know if it's even possible to do, nor if it's desired by enough filmmakers for it to be relevant. But I'm hoping to learn more about that here. Wouldn't any attempt at color science would be 'another film look' due
  2. Hi guys,This post is about recreating the look of photochemically finished film and the options for achieving this look for filmmakers, as well as future ideas. I'm interested in hearing your opinions on the topic. My background in color scienceFor the last almost 10 years, while working as a DP and colorist, I've been working on creating color science for emulating different film looks for different cameras. I've conducted countless test shoots from small setups with a Blackmagic and 135 film to fully controlled studio setups comparing Alexa and 35mm motion picture fim.I attempted building a
  3. Thanks guys That's interesting, David ! You wouldn't know of anywhere I can find examples of what such exposure ramps or charts look like would you?
  4. I'm about to shoot a project vertically for social media, we're shooting s16mm - on an Aaton XTR Prod Does anyone have any experience with this? I'm worried the camera is not build for this and it may cause the film to run incorrectly through the mag because of the 90° angle Seems nothing's mentioned in the manual about it which makes sense, I guess, as the camera was created before vertical screens
  5. Do you know of any diagrams or text on the tonal reproduction of a traditional film pipeline? I'm trying to figure out how camera stops translate onto the screen in the final projection of a 'by the book process'. E.g. 5207 shot at normal exposure, processed normally, contact printed to 2383 and projected on a standard cinema screen. Kodak publish how camera stops translate onto the negative - I'm looking for something similar just for the final image If there is no diagram out there already. Is there a way to calculate this? Or another way to previsualize how camera stops will
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