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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. Hi I am in prep to shoot a budget feature that is set in the 80's and present day. I am wanting to give the 80's a distinctive look, something more nostalgic and tending towards the warmer colours. I found 2 references (refer to attached files) from 500 Days of Summer that I really like and I think something similar could work for my film. Can anyone give me some input on the look that was achieved here? Do you think there were filters used or was it just post grade, or was it possible a lighting thing, or a combination? I know one can't tell for certain unless you were on set but I am hoping someone out there has come across something similar and has a point of view. From what I can see is the blacks are sitting more in the magenta range and the mids and highlights are sitting more towards the orange yellow. Is there a filter that can achieve something similar? I have done a few tests with Antique Suede, Chocolate, Coral, Gold and Tobacco filters. I did the tests at the rental house which did not give me a true reflection of what I will get because the locations, art and wardrobe in the film are quite specific and tend towards the browns, creams and oranges not gun metal grey and white like you find in most rentals. There is unfortunately no budget for me to do a proper test shoot so I am a little stuck. We shooting on Alexa with Zeiss Ultra Primes, I will have 10 days for grade. Thank you, Jacques
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