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Found 5 results

  1. Hi everyone, I am a student currently writing about diffusion filters in a short research topic for my BA course. I was wondering if anyone could think of any topics extra I could cover or speak about in more depth. So far Ive spoken about: basic introduction to difference between soft and hard light the various diffusion gels available, EG Frosts, Silks, White diffusions and Grid clothes etc. the results of these gels the effects of strong vs weak diffusion on the tone of a model The visible transmission and light absorption of diffusion gels The effects of increasing and decreasing the gel position in relation to the light and model The pros and cons of Heat resistant vs non heat resistant gels how strong diffusion can be used to combine multiple light sources and some difference in quality between brands What else can I talk about? Thanks Matt
  2. Hi everyone, I am a student at a film school in Milan and I have to write a final dissertation on a topic of my choice. At the moment I am interested in writing a thesis on the use of practical lights, on their merits, defects and on the close relationship that you have to establish with the art department to create a narratively effective light design. My supervisor does not want an overly technical view, but a view that speaks of what artistically involves the use of practicals and how their use evolved over time. Can you tell me if there is some book that talks about the subject exhaustively, or even documentaries, interviews and movies? Thank you in advance!
  3. 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!
  4. Hello all. My name is Bheki Ngwenya who is currently in the last and final year of a Film Production and Cinematography degree. At the moment I am doing a dissertation on cinematography. My chosen topic on the vast subject of cinematography was "visual style". With this post I am aiming to use your feedback as part of my research in identifying what visual style is and what it consists of. Looking forward to your replies. Cheers. Bheki Ngwenya.
  5. Hello There, I am an avid gear head and film student. For one of my classes I have choosen to write a research paper on the change from shooting mostly on film to mostly digital or as its called the "digital revolution". I am just curious how prevelent a change it has been on set and overall in the industry for actual professionals compared to what I have been reading. Also if anyone happens to have any good articles on the subject I would be much interested to check them out. thanks, Peter Lyngso
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