Jump to content

Search the Community

Showing results for tags 'western'.



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 6 results

  1. A western short film I shot has been released. Shot in October 2019 over 3 days (all over night). I used the Alexa Mini with Atlas Anamorphics (32, 65, 100). For the look of the film, we wanted to emulate the highlight response of kodak film, so we underexposed the entire project by two stops and brought it back up in the color grade. This gave us a lot of highlight detail and fogged the shadows at the same time. I've done this before on the feature film, The Watchman's Canoe. Under-exposing the logc image essentially redistributes the dynamic range of the image. Bringing it back up in the color grade will introduce noise, but de-noising or grain hides all of that. We I get, in the color grade, is a lot of highlight detail that I think shrank down. In the film, look at the curtains of the interior shots. They were really bright when we looked at them on set with the proxy LUT, but I was able to finesse them in the color grade. What do you think?
  2. I'm currently filming a western, shot in the west (Colorado), on film. It's called THE LAST RESORT. Shooting with a Canon 1014XL-S. Filming it on Kodak Tri-X 7266. On location. So far, the film looks amazing! This is a Warehouse 9 Production. I wish I could post a picture, but the image requirements are too small... I don't have a teaser yet, but check out my other film projects. https://vimeo.com/user2463860
  3. When searching images with/about Italian cinematographer Tonino Delli Colli, i came across this image from "Once Upon a Time in the West" (1968): I can't help it, but the lighting instrument behind the camera looks like a led "thing"! :) That era - i don't think so. Maybe some fluorescents?
  4. Hello all, Here's a question that I would like to know the answer to: I'm preparing to shoot a short film, which will be entered into various film festivals, and there is a scene in the movie in which the protagonist is watching an old Western film (haven't decided on which one yet, but most likely The Wild Bunch (1969)). The movie will mostly be shown in the background, though for a few seconds I plan on shifting focus to show some of the violence from the clip. Now, my question is, would there be any copyright/legal issues with this? I plan on giving full credit to the studios in the final credits. Thanks, John W. King
  5. https://vimeo.com/100263853 The Crossing - A Short Synopsis The "Crossing" is a tale of desertion, betrayal and retribution set in a post-Civil War American West. In the brutal wilds of the Sonoran desert, SAMUEL CHAMBERS is a desperately wounded youth lost in enemy territory. Pursued by a war party of revenge driven Yuma Indians and worse still, ELI TREATCHER, a vicious, psychopathic madman who Samuel recently rode with during his days with the Glanton gang of government sponsored scalp hunters. After evading the war party, Samuel is soon apprehended by Treatcher, under the pretense that Treatcher, a skilled war medic, is willing to help Samuel remove the arrow from his leg that is slowly poisoning him. An uneasy sense of foreboding develops as it is revealed that Treatcher has far more sinister plans in store for Samuel, who Treatcher suspects, knows the whereabouts of a fortune in buried gold and Union bonds. After a purposely botched attempt to remove the arrow, Treatcher spends the evening terrorizing Samuel with the promise of horrific torture come dawn if Samuel does not reveal the location of the hidden loot. As a new day approaches and Treatcher prepares to slowly murder Samuel, a surprise attack by two members of the pursuing war party leaves Treatcher horribly beaten and disfigured but able to escape the scene after managing to kill one of the attacking indians. With Samuel again hopeless and near death, the lone Indian, MOON, charges the camp but has a sudden and dispiriting change of heart after observing Samuel in such wretched and defenseless condition. After suffering a horrific series of poison-induced visions and nightmares, Samuel awakens one morning to find himself alone in the camp with his leg mended and dressed and his fever broken. Samuel is again abandoned, vulnerable and without any prospects of survival in a hostile landscape. During an agonizing trek through the scorching desert, suffering the scourge of starvation and under constant pursuit from the revenge bent Treatcher, Samuel again comes face to face with Moon, who only days before had demonstrated the ultimate act of mercy and compassion by not only sparing Samuel’s life, but saving it too. For a brief moment, the two share something familiar but are nevertheless still separated by a vast gulf of incomprehension. Moon, the Indian wanderer, turns and once again leaves Samuel wavering in the unrelenting heat. Should Samuel choose to follow, there stands a chance for his survival. If he wishes to go his own way, a certain and agonizing death awaits in the clutches of cruel and merciless desert. Or even worse, at the hands of vile and murderous Treatcher. Samuel’s in a position very few get to be in. That choice is Samuel’s to make. "The Crossing" is being filmed in 5K resolution with the RED EPIC-X. All man-made elements, train tracks, power poles, and to be removed shortly .https://vimeo.com/100263853
  6. Hi Cinematography.com people... I've just released a director-cinematographer 1st promo, shot with no budget other than stock, developing and telecine and would love some feedback if you had a few minutes. The idea was to create a mood and tone rather than a certain narrative. https://vimeo.com/54611682 H.Grimace "Lands of Gold and Green" With kind thanks, Ash (Ashley Michael Briggs).
×
×
  • Create New...