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Found 7 results

  1. Hey everyone! First time poster and relatively new member to the boards. Was trying to rack my brain around on this and figured it'd be worth a shot asking here. I'm preparing to direct/shoot a music video next weekend, and I need some advice on choosing a diffusion/beauty filter set. Plan is to shoot on the Alexa with a K-35 25-120mm Macro Zoom (as well as a 14mm Canon Optex if we really need the width). Utilizing HMIs and some Astras for the lighting package. I wanted to give the video an older film feel to the image, which I'm aiming to do via the lenses and using harder lighting via the larger HMIs. I also wanted to use some beauty/diffusion filters for the last touch, since I'm a big fan of in camera filtration as opposed to post. I'm currently torn between two choices, either the Soft FX series or the Mitchell Diffusion series. Now there are a TON of videos online which help show the effects of Soft FX, and to be frank it seems like a great choice for flattering the talent, while still mainting some sharpness (not to mention they don't seem to go super crazy with the halation around sources in frame). But since I wanted to give an older feel to this video, I thought about maybe going with some older vintage filters. This led me to learning about the Mitchell Diffusion series (Strengths A-E). I like the idea of using older diffusion filters, but I'm worried because for the life of me I cannot find any relevant info online about them, save for a really unsatisfactory test on Vimeo. I emailed Stan at the Filter Gallery here in NYC about it, and he mentioned that Soft FX has oval shaped lenslets, while the Mitchell series have a ripple effect. Has anyone ever used the Mitchell diffusion before? I'd love to hear some first had experiences with them, or if possible see something shot with them. Even some screen grabs will do. I'm going on Wednesday to check them out in person but I wanted to see if anyone here had any relevant info to share. Thanks!
  2. In his interview on the American Cinematographer podcast, Crescenzo Notarile ASC says when he was shooting CSI that he would do his closeups from 40 feet away using 150mm to 250mm lenses (as opposed to Gotham where he uses 21mm to 32mm). As mainly a stills photographer, I understand where he's going, most people look a lot better with longer lenses. However, the farthest I get from my still subjects is 10 or 15 feet. Forty feet away would be a whole other universe... So, in cinematography is there an advantage to shooting with such long lenses besides the flattering look and change in subject-background relationship? Does it change the actor's dynamic with the camera? What other benefits does it bestow? Thanks
  3. A few days ago, I did my first "real" test on my Raven with a victoria secret-esque beauty shoot as a personal project. Though I'm a director, I also wanted to showcase my DP abilities for hire as well as the slowmo capabilities of the camera. I shot the whole project at 4.5k at 60fps with some at 95 and 120fps, ISOs ranged from 640-1600 (and some at 2000). I really am impressed with the skin tones, lighting started to fall apart in the splashing scenes but the rest of it I'm happy with. Please let me know what you think and if you have critiques! https://vimeo.com/174891932 Please connect with me via Facebook & Instagram! www.facebook.com/AlphaMaleVisuals www.Instagram.com/A_M_Visuals P.S. - off topic, I was not impressed at all with the test video that came from the new 8k helium sensor "Underdog". It didn't look much different from footage I have been getting from the Raven which is the entry level camera of the brand. I would expect the highest level unit of the brand (that costs a million times more) to blow the Raven away but I did not see that at all. Now who's ready to fight me? lol
  4. A few days ago, I did my first "real" test on my Raven with a victoria secret-esque beauty shoot as a personal project. Though I'm a director, I also wanted to showcase my DP abilities for hire as well as the slowmo capabilities of the camera. I shot the whole project at 4.5k at 60fps with some at 95 and 120fps, ISOs ranged from 640-1600 (and some at 2000). I really am impressed with the skin tones, lighting started to fall apart in the splashing scenes but the rest of it I'm happy with. Please let me know what you think and if you have critiques! https://vimeo.com/174891932 Please connect with me via Facebook & Instagram! www.facebook.com/AlphaMaleVisuals www.Instagram.com/A_M_Visuals P.S. - off topic, I was not impressed at all with the test video that came from the new 8k helium sensor "Underdog". It didn't look much different from footage I have been getting from the Raven which is the entry level camera of the brand. I would expect the highest level unit of the brand (that costs a million times more) to blow the Raven away but I did not see that at all. Now who's ready to fight me? lol
  5. I was watching Matt Workman's discussion about a Pantene commercial and saw the use of a Breise forcus 140 as a key light. Is there a poor shooter's semi-version of a Breise that gives a similar look? I work in a market where there aren't many large budget commercials, so a Breise basically doesn't exist here and no one is going to pay to truck one down from L.A. I did like the silver stipple on hair look, so I might try that on a web series sometime soon. Thanks for that Matt. Stuart --------------------------- illuma.blogspot.com
  6. Hi Guys, How would you achieve this flawless product lighting? I realise the background is green screen so just a couple flat tops either side. Thoughts on lighting for the actual product though? Cheers, Chris
  7. I love the moving colorful lights here. But it's driving me crazy that I can't find out how this was accomplished. Any suggestions? http://vimeo.com/101388682
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