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Found 7 results

  1. Amateur editor/color grader here. Just got some Alexa footage in that is very very gold and warm, both before and after a Log C to Rec709 LUT. I was at the shoot and everything looked properly balanced on the monitors. In fact we even have photos of the monitors from shoot day and it all looks pretty balanced. Our DP was shooting at 4300K in Tungsten (indoors) which seem quite warm to me, but he claims there's no way the footage should look as warm as it does on my end after sending him screenshots. Wondering if the footage was incorrectly dumped or if it was incorrectly imported into Reso
  2. Hi everybody, I have a big doubt about White balance. I know how it works with the tungsten light, fluorescent or HMI but my question is: what WB I have to setting in camera if I have colored light (with gels) as key light? what is the best setting to maintain a good skin tones? For example, in the picture below.. (lighting with kinoflo + pink gel) Thank you so much for your help
  3. So everybody know that if you pick a higher colour temperature than that of the light you are under, you will get a warmer image; vice versa, if you pick a lower temperature, the imagery will end up with cooler light. What I want to know is why does this happen, and is there some sort of middle value the camera is trying to set everything on? That is, if I’m under 6000 K lighting and I pick 10,000 K white balance, is there a way for me to calculate which lighting (colour temperature) will I end up under? This is better generalized as given two colour temperatures, real one and chosen one,
  4. Good evening! I have been reading the forum for a couple of weeks now, and it seems like a great place with many knowledgeable users. Good thing I found it. Now, on to my issue. I am shooting a short film/commercial, and I shot a night-to-day lapse this morning. I shot it RAW, thankfully. What troubles me is that the light is changing so much during the shot, that from the second half, white balance is way off. I am editing the lapse in AFX, but right now, I am wondering what the best way to approach this would be. As I see, I have three options. I could split the lapse, and use differ
  5. Pretty much since "The Social Network" Jeff Cronenweth has been shooting with David Fincher on RED and he seems to really make amazing images with the camera. The thing I really struggle to understand is the colour throughout his films. What white balance does he set his cameras to? There are so many different colours throughout the film. Does he stick to the normal white balance (3200K and 5600K) or does he do something different. This shot looks like he has his white balance at like 3200K: And this shot looks like he has his white balance normal at 5600K: But what about this?
  6. I've got to light a location where a couple of the walls are pastel green - yuck. Effectively you get a green fill light on everything where the direct light is tungsten. Of course if you adjust the white balance to take out the green fill you end up with a horrible magenta look on the direct light and on the cream coloured walls. Any suggestions? Thanks
  7. Hello, I've been noticing lately in movies, hardly anything is natural color, its either cool, warm ora combonation of the two. I've tried just about everything (from lighting to multiple grading techniques) and can't seem to nail the look and feel of the shots I see. I've included 2 examples of what I'm talking about. The first is a very cool grade from the catching fire trailer (awesome). Somehow the highlights and shadows remain neutral, and it almost looks as if the midtones are a little bit neutral, but somehow it still seems blue. the 2nd picture is a scene from inception with a very or
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