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"When selecting between the Sony Venice and Arri Alexa 35 or Mini LF for their respective projects, what key factors do DPs consider? Furthermore, could you please explain the differences in terms of look, color, and skin tones between these cameras in detail? Thank you."

Hello everyone! So, when watching some series, I noticed the skin looked yellowish in an unnatural way. Do you think this happened because the makeup artist chose the incorrect undertone for the actors? Or it might be the type of lighting/colour temperature of the lights? I can also tell the makeup is only applied on the face and not on the neck, but that's a discussion for a makeup related forum I guess ? Thanks in advance.

can someone experienced let me know answers to these questions. I have never used a color checker before. 1) How important is color checkers for Digital cameras recording in RAW or similar top quality formats ? 2) Is it a viable option for day to day use in movie production ? 3) Can we differentiate different skin tones using checker ? 4) If shooting outdoor, is it a good choice to use as day light intensity & temperature keeps varying through out the day ? 5) what are industry standard best practices for using color checkers ? 6) what is the best company color checker available in market ?

This is not meant to be a digital vs. film post, I like both and they each have their place. I'm working on a feature, and in pulling a bunch of imagery as references for what I'm aiming for, and after diving through older threads on this website, I came across "Jennifer's Body", and particularly this frame. I love how it shows warmth, while her skin doesn't look orange, indeed there is a whole range of colors in her skin, from reds to pinks to oranges and even a little blue it seems. Earlier this year I did a side by side test between 5219 and the Alexa, and saw immediately how Kodak was able to really build skin tones into the chemistry of the film. Faces and arms and any exposed skin just seemed to pop with a wider range of color compared the the Alexa. I'd love to know if Mr. Mullen feels like he can get these kinds of skin tones working digitally now, or if he was shooting Jennifer's Body on digital, would he light it differently? More than that, I'd love to know if this frame was the result of a serendipitous combination of artificial back light and natural cool ambient? Or was he filling with a cooler light here? Or how much of it has to do with Amanda Seyfried's natural complexion or great makeup work? I always want to get better at my craft, and I'd love any input on how different people really focus on getting beautiful skin tones like these. Thanks in advance for any responses.

Hello, I'm currently working on my dissertation project where I'm planning to create a guide on how to light all six skin tones on the Fitzpatrick Skin Tone Scale under the three-point lighting setup, also know as the McCandless System. The original plan was to do the tests myself with six subjects, matching the skin tones of the six on the Fitzpatrick scale however due to the Coronavirus pandemic, this has become impossible. In order to continue with this project I have decided to create this guide with methods I would have taken myself, past experience with lighting and potentially some advice from you on this forum! Camera-BlackMagic Cinema Camera EF Lighting Fixture- Tungsten fixture During the tests, only variables would have been changed in order to find the optimal setting for each skin tone, the lighting setup, lighting fixtures and camera would remain the same. If changing different variables doesn't make a difference and the skin tone doesn't look natural in the images captured, the images would be put into an editing software to essentially "cheat" to see if the skin tone can be truly represented in the image. As a finale for the tests, the lightest and darkest skin toned subjects would have been placed next to each other infront of the same equipment and lighting setup, where only variables would have been changed again to attempt to light both skin tones appropriately within the same frame. This guide is not only for my dissertation project as I believe it would help any aspiring Cinematographer or DOP working with a variety of talent with different skin tones. Does anyone have any advice on how they would approach lighting the six skin tones presented only using the three-point lighting method and only changing variables such as gels, scrubs, makeup, etc. also what kind of camera and lighting fixture would you use (must be a tungsten fixture). I hope to reference any suggestions made in my dissertation project so I hope that isn't a problem for anyone, if there are any qualms about this please let me know! Any suggestions/advice would be greatly appreciated on any aspects of the guide, I hope your all keeping safe during this strange time. Thanks Sean

hello everybody, as am about to shoot a commercial in paris, featuring indian models, i was wondering if you guys wanted to share ideas on which gels to use to enhance the skintones for the beauty shots. these are the models: http://inega.in/v2/models/male/manu/ http://inega.in/v2/models/female/ana/ thanks a lot