Jump to content

Search the Community

Showing results for tags 'dusk'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


  • Cinematography Forums
    • General Discussion
    • Cine Marketplace
    • Cameras Systems and Formats
    • Lighting for Film & Video
    • Camera Operating & Gear
    • Camera Assistant / DIT & Gear
    • Grip & Rigging
    • Visual Effects Cinematography
    • Post Production
    • Students, New Filmmakers, Film Schools and Programs
    • Lenses & Lens Accessories
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • Directors and Directing
    • In Production / Behind the Scenes
    • On Screen / Reviews & Observations
    • Business Practices & Producing
    • Camera & Lighting Equipment Resources
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Cinematography News
    • Sound
    • Off Topic
    • Accessories (Deprecated SubForum)
    • Regional Cinematography Groups

Find results in...

Find results that contain...

Date Created

  • Start


Last Updated

  • Start


Filter by number of...


  • Start





My Gear


Found 3 results

  1. Hi guys ! Just looking for some advice on an upcoming student film I'm shooting. It's an 8 page script, that all takes place outside a community hall during late afternoon/dusk. It's a single conversation, all in real time. We have the budget for a 2-3 day shoot, and the director is very adamant on shooting during dusk/close to blue hour, however the producer made it clear that's unrealistic, due to lack of time. So, it's my job to try and fake the look during the day. How do DoPs usually deal with shooting a long EXT. sequence like this, that doesn't involve scheduling for the 1hr of correct light everyday? Luckily, where we're shooting in the UK it's often overcast, providing a nice, soft source which is what we want. I'm just worried about the colour being convincing, as I don't want to leave it to the colourist. I was just wondering if anyone had any advice for dealing with this situation? I just want to make sure skin tones look accurate, and not washed with a blue tint in the grade. My other worry is if the weather is different across the 3 days, as we won't have much equipment other than some frames of diffusion to soften sunlight. I wasn't sure whether altering the white balance throughout the day would be worthwhile, as I imagine matching shots in the grade would take forever and not look great. Also thinking about using a blue filter to try and get the look. I plan on shaping the light using Poly and Neg. Please see some reference stills below. Any advice will be much appreciated !
  2. Hi everybody, I'm gonna shoot a thesis project at the end of the month and I started thinking about the look I'd like to achieve. I'm not super familiar with filtration and I wanna try to work with filters more rather than put all my trust into post production and color correction. I'm gonna shoot in the woods and the director would like to have a desaturated/soft/ dusk kind of look. I'll have to shoot day for dusk because I'll probably have access to the location during the day and not during actual dusk hours. I'll go to the filter gallery in NYC to make some tests but I'd like to hear everybody's opinion in order to make up my mind if there's a specific kind of filters I should check out. To be more clear I'm attaching a reference photo given to me. If it makes any sense I'm also planning on renting the artem exterior fogger. Thank you so much in advance for the help!
  3. Hi everyone! Im investigating solutions on how to light a 60+ street party (people sitting by tables under a tent without walls in the middle of a suburban street) from early dusk until nighttime. My main concern is kelvin, in camera and on the lights My strategy so far is to use 1.2 and bigger HMI lights (5600k) on background housing and gardens, to give depth to the pictures of people sitting at the table. For the actual table/people-lighting, I plan on using china balls from the roof of the tent, gelled with half CTB somehow, to end up at 4300K. Other paper/lamps and globes will be left at 3200, to give warm hotspots and bokeh around the set. In camera kelvin will then be set at 4300k The set needs to be quite clean of stands and able to shoot 360. The china balls will be a part of the decoration as well as main light for people around the table. Will be shooting on 4x c300 My main concern is that my background will still be bluer than I want it. This party should have a very warm feel to it. Am I better off doing everything except practicals and decor at 5600k and in-cam? Thanks for any input! Best regards Howard
  • Create New...