Jump to content

Search the Community

Showing results for tags 'look'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Cinematography Forums
    • General Discussion
    • News & Press Releases
    • Lighting
    • Camera Operating
    • AC's & DIT's
    • Grip & Rigging
    • Visual Effects Cinematography
    • Grading, DI and Telecine
    • Students and New Filmmakers
    • Cameras Systems and Formats
    • Lenses & Lens Accessories
    • Camera Accessories & Tools
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • In Production
    • On Screen
    • Cine Marketplace
    • Business Practices
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Regional Cinematography Groups
  • Not Cinematography
    • Producing
    • Directing
    • Sound
    • Editing
    • Off-Topic
    • Forum Support

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Website URL


Skype


Location


My Gear


Specialties

Found 10 results

  1. Hi all, I was recently introduced to the wide range of image profile (dynamic range) options on industry cameras. I understand that a low dynamic range gives you less tonal range and high gives you higher, but under what circumstances would you want a lower dynamic range versus higher? I was also told that you have to be an experienced colour grader to shoot high dynamic range, can anyone shed light on this? Thanks.
  2. Hi everyone, I'm currently preparing for a music video. A couple of scenes will need a misty dreamlike look to it (example down below)? I understand old glass is the best to get this look, but I would like to know the different type that I could rent. I currently live in the UK wanted to know the most accessible filter and lenses needed to provide an image like this? Thank you for Reading Christopher
  3. Hi all, I'm a DP from India. Very soon I'll be starting shoot of a very very low budget romcom. My director and me have zeroed down on a particular look which is from the movie "How to be single". Please find the link attached. It will be great if someone can help me how to get this look. I will be shooting on Red Dragon with Cooke s4 lens. A couple of questions I have are as follows- 1. Do i need to use any softening or diffusion filters in front of lens? if yes, which one? if it's too expensive any alternative like fish net or stocking? 2. lighting suggestion. 3. Lut suggestion. or any other suggestion regarding achieving this look. I will be thankful for your advice. http://imgur.com/a/y1zUj
  4. So last night I watched the movie Nerve, DP'd by Michael Simmonds and I just loved the high stylized look similar to John wick and Drive but different. My question here is, does anyone know what lights he used. Simmonds placed colorful practicals in the scene that had this neon look to them. Are they just gelled kino tubes or a special light made for this? The actors had this bright neon glow to them. The scene that got me questioning the most about how it was lit is the picture attached where actors Emma and Dave walking into some place and the overhead has these small dangling Christmas like lights with the over exposed ceiling ( but I would not say it's over exposed. More like a neon or black light look that of what you would find glow in the dark arcade). I would love to know how they lit this. Thanks
  5. Hello all, I am in my final year of studying film production and I am currently doing research about cinematography and color grading. I am trying to find out more about the collaboration/ workflow between the DP and the Colorist and the issues regarding the authority over the look. I am also looking into whether new, aspiring cinematographers should be their own colorists. I was wondering if you could please share your opinions about this from your experiences so far. As a Cinematographer, how were your collaborations with Colorists ? (and vice-versa). What can DPs/Colorists do to ensure they can work together successfully? If you are working both as a Cinematographer and a Colorist, why did you choose to have both roles and how difficult was the transition from cinematography to color grading? Your help would be much appreciated!
  6. Hello, you often can find old Kinoptik lenses, for example the Apochromat 25mm, in Cameflex, C-mount or other mounts for very, very high prices. What do you think about this lenses ? How is their quality and their 'look' compared to other lenses like Zeiss etc ? Why are this lenses so expensive ? Micha
  7. Hi everybody, I'm gonna shoot a thesis project at the end of the month and I started thinking about the look I'd like to achieve. I'm not super familiar with filtration and I wanna try to work with filters more rather than put all my trust into post production and color correction. I'm gonna shoot in the woods and the director would like to have a desaturated/soft/ dusk kind of look. I'll have to shoot day for dusk because I'll probably have access to the location during the day and not during actual dusk hours. I'll go to the filter gallery in NYC to make some tests but I'd like to hear everybody's opinion in order to make up my mind if there's a specific kind of filters I should check out. To be more clear I'm attaching a reference photo given to me. If it makes any sense I'm also planning on renting the artem exterior fogger. Thank you so much in advance for the help!
  8. Hello, I have the opportunity to get a (super16 converted) Canon 11-165mm (PL) for a very reasonable price. I previously used the 10-100 Angénieux on my Super16 SR2 but was somewhat disappointed with the image quality (in terms of contrast and sharpness). The man at the lab put it simply (but perfectly): "It was ok in the 80s, but it simply doesn't meet today's expectations of focus, contrast and all-over look." I was wondering if anybody had experiences with this lens, or even footage (16mm) that could be shared. I am not sure if testing the lens is of great use to me, since my only reference is the Angénieux and I guess it won't be hard to "beat" it. Will one be able to tell the difference between images from this lens and those aqcuired with primes on Super16mm? Will this lens meet our 'modern' expectations? Thank you and a good day to all.
  9. Hey guys, I'm looking to start an ongoing debate about creating looks, with main focus on lighting. - Light sources, grip, exposure, color, texture, direction, post-processing. The whole deal. Ideally one could just go shoot tests with different sets and lighting setups every day. But since that would require a great deal of money and time I figured this to be the next best thing. - If you’re interested please join in! Let me start out with this image,
  10. I’m sort of new to cinematography. I’m hoping to achieve a certain look or at the very least come close it. I plan to upload this mainly online for now (like youtube and vimeo). I know what I’d like to have as an outcome, just not sure specifically what I might need to do to get there. I’m looking for more of a style used during the 90’s for music videos. They, I assume, were filmed with film camera and not digital, so I’m aware of one part of that solution. I figured if I shoot digital in 24 fps, somewhere around 720, that I might be able to get close to the look I’m looking for (plus whatever sony vegas or premiere can provide me for filters). I have examples so that anyone with sound advice can understand what I mean in a visual sense. http://www.youtube.com/watch?v=SWDazyPyjts (Redman “I Can’t Wait”) http://www.youtube.com/watch?v=CMJH2XWBQGU (Nas “The World is Yours Tip Mix”) http://www.youtube.com/watch?v=ehT_R-Vd6Nk (Da Youngstas “Mad Props”) http://www.youtube.com/watch?v=gOppDnMIIak (Extra Prolific “Brown Sugar Directors Version”) http://www.youtube.com/watch?v=DIWH2xc9yKk (Camp Lo “Luchini”) I put up a couple of links to give a better view of what I mean, from mid 90s to late 90s. I’m aware I’ll need a dolly, tripod or some kind of stabilizer (I don’t plan to get any of the big production cranes). Other than that, not sure exactly what I would need to do to get the closest to that quality (besides lighting techniques).
×
×
  • Create New...