Jump to content

Search the Community

Showing results for tags 'top'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Cinematography Forums
    • General Discussion
    • Cinematography News
    • Lighting
    • Camera Operating
    • AC's & DIT's
    • Grip & Rigging
    • Visual Effects Cinematography
    • Grading, DI and Telecine
    • Students and New Filmmakers
    • Cameras Systems and Formats
    • Lenses & Lens Accessories
    • Camera Accessories & Tools
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • In Production / Behind the Scenes
    • On Screen / Reviews & Observations
    • Cine Marketplace
    • Business Practices
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Regional Cinematography Groups
  • Not Cinematography
    • Producing
    • Directing
    • Sound
    • Editing
    • Off-Topic
    • Forum Support

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Occupation


Location


My Gear


Specialties

Found 2 results

  1. Hi guys, I wanted to find out what techniques people are using to combat/harness overhead light. I've got a scene coming up where there's a bunch of fluorescent fixtures in the ceiling (the only motivation for light in the location) so I'd like to use it as the main source but keep it fairly low-key with nice shaping to the faces. In my previous experience I've found it difficult to achieve a flattering look on the talent (such as the attached image from Skyfall - which works well for the scene but is what I'm trying to avoid). Are there any techniques you employ in your own work to avoid overly shadowy eyes? I thought Rodrigo Prieto's work in Wolf of Wall Street (image attached) was really well handled as there's a nice shaping of light on the faces in what would otherwise be quite a flat looking environment with banks of fluorescents in the ceiling of an office - would he have employed additional lamps from lower angles in conjunction with the practical lights in the ceiling to create a pleasing lighting contrast to the faces? There are a few ideas I've already experimented with such as softening the overhead light with diffusion - which I like but, again, still gives pools of shadow under the eyes. Bouncing the light from below with reflectors softens the contrast of overhead lighting but always feels like an additional source coming from an angle which doesn't feel natural? Maybe I need to be more subtle.. What techniques do you recommend/use in every day situations? I'd be interested to hear advice for all manner of situations (low key, high key, dramatic, experimental, etc). I love Robert Richardson's top-light look but I'd like to avoid this style in favour of a softer, more natural feel for my upcoming project. Thanks in advance! - James.
  2. Hello, I found these two articles about the Top Ten Schools in UK & US. I'm mostly agreed but I wonder what this type of ranking can worth? I mean is this accurate? I know finding an University can be confusing.I know I'm confused myself right now looking for mine. But I wonder.... So In you opinion What are the best school and do you think, this kind of ranking is trustable? Here the links http://talesfromtheargo.com/uk-film-schools/ http://talesfromtheargo.com/top-us-film-schools/ Cheers Guys PS : I read a lot of Bad reviews on MET Film School but apparently now it's recommended by NFTS??? https://nfts.co.uk/sign-me-up/pathways-nfts What do you think of that as well?
×
×
  • Create New...