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Found 3 results

  1. So I am trying to achieve and a subtle teal and orange look similar to the image below and I want to do it in-camera as much as I can (obviously it will be enhanced in resolve but I just want to make it as easy for the colourist as possible). Here is my thought process I could shoot at 3200k in-camera and gel windows with CTB, then create some ambient blue fill light in the room by bouncing a CTB gelled light at ceiling, then key my talent with a 3200k source (same kelvin as camera) to create natural looking skin tones. (i would then CTO my tungsten practicals to make them even warmer in camera) For my scene though, the actors move around the room a fair bit, how would one go about keeping skin tones looking natural and making sure there is skin separation from the walls in camera? would I just Hollywood a source that was balanced to what the camera was to key-light my talent? Although, I do want the it be as naturalistic as I can any suggestions or thoughts? I know there are a lot of different ways of tackling this, I am more interested to hear different ways of how people would light this and how to keep skin separation when actors move around room a lot in scene? Thanks! (sourced from reddit, the work is not mine, here is the link to that post; https://www.reddit.com/r/cinematography/comments/kgymng/shot_my_first_spec_ad_let_me_know_what_you_think/?utm_source=share&utm_medium=web2x&context=3 )
  2. Hi all, I have seen a few times a technique in promos where lights seem to move. I'm shooting a spot in the next few weeks we I'd like to use this technique. I've been looking everywhere and I can't seem to find anything about how this is achieved. An example is here: https://vimeo.com/176507317 look at the shots at 04.23-4.35 Any ideas what kind of set up i need to get this? I love how the lights moves around the subject. Thanks all!!!!
  3. Hello, I'm shooting a short film next month that has a few bicycling sequences, involving two characters - an older man and a younger boy. I'm working on finding an affordable, safe method that will give good results. I am shooting RED EPIC with Zeiss UP. A few notes about the coverage the director hopes to achieve: - Wide Shots in front of characters (biking towards camera) - closer shots (shoulder up MCU) on faces - wide shots on characters back (following from behind) - Profile bicycles on sidewalks A few factors to consider: the characters are going to be biking pretty slowly / casually. We are shooting in a small southern town, and the locations are all pretty smooth and well paved. This is a college thesis film, we're students so think micro with the budget. We have access to friends pick up trucks (and other automobiles). So my current plan of attack is to shoot from the bed of a pick-up truck. I was thinking securing a high hat and stabilizing with sand bags and ratchet straps. Here are the questions that arise: Is this approach the best given the budget restraints? Has anyone used a different method they would like to share? Going with this approach, what is the best way to stabilze a RED EPIC to a truck bed that will minimilize bump and shake and still allow me to operate and follow the action taking place? Does anyone have any pictures of rigs like this? I would love to see a concrete example of what I'm trying to achieve. Any adive for shooting the shots from behind the bicyclists - the only thing I could think of would be to drive the truck in reverse... I apoligize if this topic has already been discussed. I searched through the forums but didn't come across any results. ALSO: Here's a video with great smooth shots, it's a skateboard but I imagine the bicycles will move at a similar speed. -- -- wonder how this was done? Thanks. Drew
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