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Found 8 results

  1. Hi all, Came across an intense flaring/ghosting (not really sure what's happening here) phenomenon using a Cooke S16 Varokinetal 10.4mm-52mm. It has been serviced by Visual Products 2 months ago. The stills come from footage on a RED GEMINI in 2K crop mode, with standard OLPF and no filter or mattebox on. It is present across the aperture (toned down past T5.6) and zoom range (seems to zoom in the effect). Can provide examples in other lighting situation. In a lot of scenes the light source, even a window with ambient daylight, will appear as a blue ghost/flare. The effect was noticed on ARRI mini LF too and potentially on ARRI SR2 (though not as evident on the 16mm footage shot yet, as the source was ambiant overcast daylight). I find this interesting as I tested a lot of vintage S16 zooms before from Angénieux, Canon and Zeiss and never came across this to my memory. Anyone has insight or guesses on this? Trying to gather information from other users too. Thanks, Alec
  2. I'm writing an essay and comparing optical artefacts between different lenses in different price ranges. Being able to compare these requires me to determine what a desirable result is and what an undesirable result is. Logically an artefact is a defect so it should be undesirable, but as well all know lens flares are a commonly used artefact in movies. Is there a way to determine what a good "lens flare" is?
  3. Hello, I am trying to understand how this phenomenon can occur, In the movie '' Good Time '' of the Safdie brothers, I have noticed several times that the highlights that flare restore the source, not by a glow but by drawing of it. In the case of the example number 1 we see that the text in the window is present as a flare but that, it does not make a ring / point in flare but a reproduction of lettering neons. In example 2 the flare corresponds to the bulb pattern of the carousel. Can someone explain to me if this effect is due to a phenomenon of the used optics, a lens filter effect, or post-production? I am French mother tongue I hope that I managed to make myself understood. I thank you in advance.
  4. My first test with a 3 perf cameflex was perfect except for the gate flare present in the negative. Just want to confirm this is the case... however the triangle flare isn't vertically/horizontally flipped as the rest of the image. Looks like it's flaring/bleeding into the next frame. As far as solutions...paint the mask? Both sides? Which paint do you recommend? Attached below are the stills, and of the gate, with and without the shutter. Many thanks!
  5. I've seen this "ghosting" thing in a few videos but I'm unsure of how it's done? I assumed it was a tilt shift lens and they just mess around with it while shooting or is it something else? Maybe they put some sort of glass/prism in front of the lens to obscure the image? You can see it in this video from 00:15-00:18 https://youtu.be/YUYjxf9rHCY?t=13s Also, there's heavy use of flares in the video. Normally with flares, you shine a light along the edge of the lens. Sometimes you can see the light fixture come in and out of frame to create the flare. However, you never see any fixtures here in this video. I'm curious if I'm missing something here. Anyone know how to reproduce these flares? I thought maybe he was doing it in post, but the subject's image is effected by the flare which makes me think its practical. You can see a good portion of the flares at 2:50-2:55. I'm sure part of it has to do with the lens he is using and how it refracts light? or do you think its added in post?
  6. I have an upcoming project where I've been asked to film floating blue orbs around the talent a la "Starman". My initial thought is to shoot anamorphic, float a battery powered small source on some monofillament, and composite/track over the source with a light aura of sorts (retaining the flare). I think this MIGHT work, but in these examples there are clearly larger sources being used. They also seem to be coming from relatively the same area as the orb itself. Due to the obvious keying/compositing (you can see the black matte lines when watching the film around the actors/windows) I was thinking maybe they keyed out a rod holding the light painted or wrapped in green? That would only really make sense with the shot from behind them. Any attempt to contact the guys who shot these scenes has turned up unsuccessful. Might anyone have a better idea to achieve this effect? Obviously cameras are quite a bit more sensitive now. So, a smaller, dimmer source isn't out of the question. Heres a video link to anyone interested: Camera/lens package has yet to be decided. Thanks!
  7. Hi there, Does anyone know how Alexis Zabe did the flare effect in "Stellet Licht"? Thanks
  8. I'm talking about the look of the sun synonomous with Terrence Malick films. It was all of The Tree of Life, showed up a few times in To the Wonder, and I'm pretty sure a similar technique was used in Mud. When the sun is in frame, it appears to have a circle of very defined lines portruding around it. How is this effect achieved? I know that Tree of Life shot using Ultra Primes, is this result achieved by stopping down the UPs? Or is this effect achieved using a filter? Let me know your thoughts! http://www.moviola.org/images/TreeofLife.png http://www.ropeofsilicon.com/american-society-of-cinematographers-award-the-tree-of-life-best-cinematography-of-2011/ (The effect can be seen in both these stills) Best, Drew
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