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Found 9 results

  1. Hello sir, Am looking for Baselight LUTs,where should I get it? Do share me your ideas. Thank you
  2. Hello all, My name is Robert, currently heading into my graduate thesis film production, with a question about shooting two different cameras over one production. During prep with the director, the idea of shooting 2 cameras came up as I was camera testing with a Canon c700 and the Canon Cine Primes, which I have decided to use as an A camera. As it stands, our budget won't allow for a second c700 to act as B camera, however we currently have an f55 w/ Ultra Primes reserved from the school's equipment house. Having tested both cameras, I know that each camera possesses different characteristics and will not match right off the bat. That being said, does having a two-camera setup where the cameras are inherently different make sense given the differences in specs (color space, dynamic range, codex etc.)? Is it feasible given that it can be adjusted in the DI, and would it be possible to get the cameras close during production. Because of the different characteristics and looks, I have toyed with the idea of using each camera situationally based on their given strengths, but in some cases I would need to have a B camera available to support the A camera. I realize that I may be giving myself more work in the long run, and I'm sure there are things I am missing, but I would greatly appreciate any idea, advice and expertise on the topic. Thanks in advance, RC
  3. Hi all, im from india. the cost of DI in Baslight for 2 hour movie shot on Red Epic is around 30000 US doller. i want to know whats the cost like in other country.
  4. Hi all, I'm new to the forum and am looking for some advice. I'm not from Film; In fact, I am a video game Art Director at one of the largest game makers in the world (Not bragging, just hoping to show that I'm legit in my queries.) The game I'm presently working on - I'd like to take it in an artistic direction that mimics the forethought and planning given to a film, from photography, to production design to color grading in post. I'm reading everything I can find about it but some things I cannot seem to find answers for. Which brings me to this site. :) I'm hoping someone can help guide me through some of these murky waters. 1. In film, who decides what color treatment the film will have and when do they do it? Does Michael Bay say " I want it all Teal and Orange" from day one? Did Ridley Scott know up front that he wanted night time to be greenish in Black Hawk Down? These seem like important decisions and I don't understand who makes them, where it comes from, or how it finds its way to the myriad people who will be affected by such decisions (prod designers, costumers, etc.) 2. Along the same lines, do films have color scripts? Color is important for emphasizing emotional beats, etc but how and when is it determined? And who does it? Does storyboarding factor into this as well? 3. Another reason films look different, I imagine, is as a result of the film stock and lenses chosen. What goes into this decision making? To put it all another way, it seems like there are dozens of variables that contribute to the overall look of a film. What things do I need to consider in order to develop such a cohesive package of direction? What I want is to give my game a cinematic lens, I want it to feel carefully directed from the outset with thought given to the colors, the grain, the lens effects, everything. This is relatively untread water for video game developers however and I really feel overwhelmed by everything I'm reading. I've got kind of an idea of what I want to do but not the vocabulary to explain it. I want to learn more about this aspect of film making so that I can develop a really solid plan for the art direction. Any and all help is greatly appreciated! Thank you kindly. Rob PS- Any book recommendations would be highly appreciated too as I've got a list of about 30 going in Amazon right now and no way of knowing what is good and what is hot air. I dont want technical manuals, I want to understand the thought process that goes into designing the look of a film.
  5. Hey everyone, I work for Central, a DI facility in Vancouver, and together with FilmLight and Dolby we're hosting an event in November about our work on Neill Blomkamp's Elysium. We'll be discussing our approach to VFX integration, using the ACES colour workflow, as well as some creative insight from our colourist, Andrea Chlebak, on creating the look. Elysium: Crafting the Future in DI November 14th, 6:30 to 9:30 @ Vancity Theatre RSVP and additional information on our Eventbrite page: http://elysiumcraftingthefuturevancouver.eventbrite.com/ Thanks! -Alex
  6. Hi everyone. I am about to start the 2 years of film studies at LACC and my goal is to become a film ditrector. My likings, which used to be quite broad, have narrowed down to movies where especial effects are of the essence ( Life of Pi, Transformers, Pirates of the Caribbean, etc.) My question is how much of SFXs a director must know in order to make the movie? Is he supposed to have a great deal of knowledge of this field before embarking in such kind of projects? Thanks.
  7. My question is how much of SFXs a director must know in order to make a movie? Is he supposed to have a great deal of knowledge in this field before embarking in such kind of projects? Do they teach special effects for directors? Is that something that the cinematographer must know? Thank you for your time.
  8. How much of SFXs a director must know in order to make the movie? Is he supposed to have a great deal of knowledge of this field before embarking in such kind of projects? Must the cinematographer know this subject too?
  9. Hello everyone, you know that color grading software they used for The Hobbit? maybe you can figure it out from this link Thanks AM
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