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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, Been a lurker many years but need some advice on lighting fixtures. We have a Phantom HD Gold in our studio which lives in there all the time. Up until now we've been using a mixture of Kino, Dedo and Colortran fresnels to light scenes using different phases in the studio to negate flicker with the tungsten. Most of the stuff we do is small table top stuff but we now want to be able to light our entire studio cove (5 metres high 10 metres across) and have some money to achieve this. When we've had bigger shoots, lights have always been hired in on a job specific basis. We have a single 32 amp socket with appropriate connector and 3 dimmer banks orated at 40 amps each running 16 amp connectors with DMX control. I have about £15k to spend and have been looking at getting up to around 6-8k with possibly a single 4k key on the dedicated 32amp socket and then maybe 2-3 additional 2k's on the other connections. I've been looking at Arri D40's and M18's with HMI/Ballast but wanted peoples thoughts on what might be a better more economical route giving us the most for our money and maybe taking in current LED technology. We were also looking at a new Dedo which was touted as around 2k output but doesn't appear to have been released yet. Not sure of the model name but saw it at a trade show some months back. Any input or suggestions appreciated.
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