Anton Leo Felixberger

On 7/7/2023 at 9:22 AM, aapo lettinen said:

generally speaking you only need spectrometer to balance different lights to each other and everything else is done in post nowadays (like correcting overall colour cast of a scene, rarely done with in-camera correction filters because overall corrections easy to apply in grading and the end result pretty much the same).

So you would need it if having different lights and you want to balance them against each other. For overall colour temperature differences the digital cameras with even a basic monitor offer enough tools to replace the separate colour meter and again, if you cannot affect the colour balance on set there is no need to know how off it is so only needed if you can alter it with lighting (for example if you have a green cast in forest scene and you are able to use artificial lighting to counter that)

Exposure/light meter is useful to quickly check contrast ratios and overall light levels but it is extremely rare to actually use it for setting aperture on a digital camera. Knowing how to use in-camera scopes is much more useful, the camera basically already is a exposure meter so a separate one is often useful only for checking overall light level (if there is enough light or not) or checking contrast ratios IF you have experience what different contrast ratios should look like (mostly film shooters have this kind of experience so it may not be practical for digital shooters unless wanting to learn it for fun)

Hello Aapo, out of curiosity: how would you work against the greencast for example in a forest? I've thought about this too and in theory I could imagine countering with Magenta artificial but is that really practical? Do you have any experience with that? Do you work with magenta in close ups to get the skin tones right? I shot in a forest a few weeks ago and the green worried me but I thought, okay let's finish this in post.

Yes, or I take blinds, cover the windows with diffusion and light a HMI through it (similar to what you did in the example image).... then the reverse shot doesn't burn out totally and the light source is explained (the window). Thank you very much.

Hey David, thank you very much for your detailed and sympathetic reply. In fact, I have already thought about it, also because it would fit very well narratively. One person seems unapproachable at first (person with darker face). My concern is, what do I do with the close ups? Then I would shoot directly against the hot window (keylight), right? Your examples look terrific good of course but did you work with overs in these scenes?

19 hours ago, David Mullen ASC said:

You see here that I keyed her over the upstage shoulder of the backlit person. His face is filled in by the backlight bouncing off of things on his desk. There is also a hallway window on the right that is adding some light to his face. But the main thing is that the window light is dominant.

19 hours ago, David Mullen ASC said:

Hello colleagues, I have a question and I hope someone can give me a tip: we are shooting a film in a very beautiful location, an old mansion with wonderful wood-panelled walls and big rooms.
In any case, our shooting direction is against the wooden wall. It´s a seated dialogue between two people, daytime. In the wooden wall is no window.
What do you do in such a case if you want to establish a reverse keylight? Simply simulate a fake window above the edge of the picture?
I would take a floor lamp and put it in the picture but the director doesn't want "warmer" light on the faces. In the picture you can see the shooting direction and the wooden wall.
I am happy about any input.

Thank you so much and sorry for my english.....

Hello Friends,

these days I am working on techspecs and a postproduction workflow for a TV series. This will be a pilot episode and we want to get the things in order.
I am not that aware of Avid so here is my question and I really hope somebody could help me with this.

Once the Slog Footage is ingested in the Avid System, all the metadata are not available "on" the footage. (sorry, my english sucks :))
Example: if I shot Slog on an FS7, I use Sonys Catalyst Browse for the transcoding. The software can read my metadata. So if I shot in 1000 EI, it doesn`t look a stop over.
I can use this in a very good way and for me it`s the benefit of Sonys Cine EI Mode.

But if they ingest it into their Avid, the material is not interpreted the way it should be. Is there no way to fix that?

Because of budget, time, blabla, you know, they dont want to adjust every single clip before editing.
I dont want to force any future DP to shoot everything in 2000 EI to get a constant look for editing and I dont want it either. :)

Their postproduction supervisor told me that there is no way to transfer the metadata, make up gain, the rated Lut, into Avid. I dont want to believe that. :)

Isn`t there a way except shooting in Custom Mode?

Thank you so much guys, I hope you understand what my problem is.

Best regards,

Anton

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Anton    Leo       Felixberger
Bildgestalter/ Kameramann
Director  of      Photography
net: ///antonfelixberger.com