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  1. Hello! I have just finished a final cut of my new movie and would to color grade it. I heard something about buying a specialised video card for precise video playback (in terms of color reproduction). I found Blackmagic Shuttle as a relatively cheap (200$) option but I am not sure if it will do the trick? Also, one of my colleagues who knows about grading more than myself told me that I should be connecting Blackmagic shuttle to the minitor via S-Video out, not DVI or HDMI as they are not able to reproduce the colours precisely. Do you guys have any suggestions in whether which connect
  2. Hey guys, I am not a cinematographer, Im just curious about it. I've noticed in behind the scenes footage that a scene will look so lit up, but then after post the shot is dark with shadows and back lighting, beautifully lit. I have an intuitive theory why...Makes it easier to tune the exposure, shadow detail, highlights etc...Gives the color grader everything he needs to make the shot look awesome. And its done by calculating the power of each light relative to each other. But this could be completely wrong ha. Anyway, please educate me, I would appreciate it. btw, can anyone
  3. Hi everyone, I've one those searcher of the holygrail, searching for the filmlook without using stock. The film below was shot on 60d and I thought the image texture was astounding. I contacted the filmmaker and he wouldn't respond to what factor helped in acheving such texture from such camera. I was wondering if its the L-series lens that contributed that? Thus I came to you professionals to help me answer this question, How to get texture organic image from a DSLR?
  4. Hi all, im from india. the cost of DI in Baslight for 2 hour movie shot on Red Epic is around 30000 US doller. i want to know whats the cost like in other country.
  5. Lucky to have an Ikonoskop on loan but can't process the DNG footage. Going slightly mad trying to work up a simple workflow so I can just do some edits. My shots are all indoors with available light and gain turned up. They look great just opened up and tweaked a little in Photoshop. I used to using AE for editing and it does a great and easy job on the DNGs but too slow to use. 4+ hours to render 8 mins. So, trying to make Prores files: DaVinci Lite does a great job on the DNGs but it practically melts my 2009 MacBook Pro's GPU (GT 9600MT) causing system shutdown Speedgrade
  6. Red Giant has released Magic Bullet Looks 2.5 featuring new tools and interface improvements, not to mention some serious speed boosts. Best of all, this is a FREE UPGRADE for Magic Bullet Looks 2.0 users. http://www.redgiant.com/blog/2014/04/22/magic-bullet-looks-2-5/ What’s New in Magic Bullet Looks 2.5: Strength Slider: Control the overall strength of your entire Look with an easy-to-use, keyframable slider. Speed Increases: over 20% faster. Improved Looks Previewing: allowing a user to hover over a Looks to preview to see the results. LUT Tool: allows users to import .cube LUT
  7. Hi all, I've recently finished shooting a music video on 4-perf 35mm, 5219. I'm about to send the film off for processing/transfer and I'm sort of stuck as to whether I should get an HD telecine or a 2k scan. The price difference given the amount of film I'm working with is not that large of a concern. My lab of choice (the wonderful Video and Film Solutions in Maryland) uses a Spirit for both. Now obviously, as it's a music video, it'll only ever be viewed on computer screens, so I'm sure the difference won't be too drastic between the two, but there are still some factors to consider
  8. Hi guys, After watching the excellent THR cinematographers roundtable, I feel compelled to draw more attention to one of the key issues they discuss - the lack of control of the final image in todays modern world of different screens and projector standards. I've been lucky enough to have a few films I've shot recently coloured by Rob Pizzey and Adam Glasman at Co3 in London and we've achieved results I've been delighted with in their colouring sweet, both in the P3 space on their projector, and in Rec709 on their Dolby monitors. The problem however, is when we output to home deliv
  9. Hello there, I am a freshmen undergrad in film school and recently got the position to work as a DIT and editor on an upcoming short. The short is a collaborative effort of one of our school clubs where we managed to get together to funds to shoot with an epic. During the shoot, which is coming up this spring, I am to apprentice a professional DIT and learn the ropes. Eventually taking over once I am comfortable with the procedures and so forth. I am also going to be grading and editing the RAW footage. So prior to when my apprenticeship begins I would like to have a firm knowledge of wha
  10. Hello, I've been noticing lately in movies, hardly anything is natural color, its either cool, warm ora combonation of the two. I've tried just about everything (from lighting to multiple grading techniques) and can't seem to nail the look and feel of the shots I see. I've included 2 examples of what I'm talking about. The first is a very cool grade from the catching fire trailer (awesome). Somehow the highlights and shadows remain neutral, and it almost looks as if the midtones are a little bit neutral, but somehow it still seems blue. the 2nd picture is a scene from inception with a very or
  11. These are a few stills and a link to the trailer of the latest film I was Director of Photography and Colorist for. Would love for some good critical feedback on lighting, tone and color! 24fps @ 1920x840 transferred to DCP 2K [2.39] for projection CAMERA: Canon T2i TRAILER: Lune Bateaux Pictures -- Muffet -Joshua
  12. Hi, I have a couple of questions for our next (student) short we will be shooting in the first half of April. At first we wanted to go 16mm (anamorphic), but it's quiet expensive for us. And wide angle anamorphic is a problem with 16mm. We're still thinking about it though. But it's probably going to be the digital way. Now the short is about half and half daylight and nighttime. Probably a bit more at daylight. We're thinking about renting a Red-epic since it's a lot cheaper (than an Alexa). But I'm a bit "scared" for the nighttime shots with the epic. We will be passing neon street
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