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Found 2 results

  1. So I’d like to know this: are there any particular scenes or films which in your view effectively used warming filters? But not only the warming ones, like 81 or 85, but also straw, antique suede, gold, coral, tobacco, or similar. And it also doesn’t have to be a particularly effective, but just something that you liked. Two, are there any cinematographers today who really like the filter look and use them even though you can do a lot in postproduction? Or any cinematographers of the past who loved to use them. Or a cinematographer who is particularly associated with a filter or liked to use a certain kind. And three, I was reading one of David Mullen’s posts yesterday where he says that what he does sometimes to achieve a warming effect is to use a blue filter, shoot a greyscale with it, then drop it for the scene, and then send a note to the colourist with a “pale yellow/golden look” message. So I was wondering, David – or anybody else who does a similar kind of thing – have you compared that look with a look of a filter the use of which would give a similar result? What’s the difference (apart from it, obviously, not being possible to remove the filter effect in postproduction)? P. S. I only saw a Cokin gold filter, and that’s for still photography. Any other producers? P. P. S. This might sound baffling, but would it be a terrible thing if there were a CTO lens filter? It would look awful? I was just thinking if, say, I was shooting something at 6500 K natural lighting, would it be possible to turn such a light into a 3000 K-ish sunset light with the use of such filter. It would probably kill a lot of other colours or something...
  2. For sale a 4 stage MB14 Arri 6 x 6 Mattebox. In great shape, price includes Mattebox, Hard Mattes, 4 6x6 frames (2 geared and 2 normal) bracket that allows you to your new mattebox on 15mm or 19mm rods. whip for geared trays when you use grads, 138mm filter holder
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