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Found 5 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! I'm from Russia and my English is not that great, so if you see any mistakes, just let it go) Lil bit about the work. I really wanted to shoot a music clip, because I love watching them and it's a cool spot to start developoing cinematography skills. We had no budget and because of that I decided to make a street video. So I just rented a GH5s and a 12-60 mm lens for it and that's it. Of course I had an idea! 1) to make the color contract between bright blue and yellow and make these colors the main colors for the work. 2) to shoot the video against the background of post-war Soviet architecture as a way to emphasize the lyrics. (The song is about achievements that are usually based on pain and post-war architecture is a great example of it) Obviously, I was inspired by Dexter Navy's works and it's not a good thing, because my main reference was in the same creative field as I am! Also, I'm a newbie and it's literally my first experience. So I decided to take a piece that I could swallow. It was the reason why I decided to make the video without plot, because it would bring a new level of difficulty for which I was too greeny. I mean for me it's better to take a challenge that it's difficult enough that you would grow and learn, but not that difficult that it would crush you. And you know, I've learned alot! I did mistakes in shooting and editing, that I will never do anymore and I've learned something about my self, so overall It was a great experience! I will glad to hear any feedback from you. What you like or don't. What I could do better or just give me your thoughts about it! Aslo you can check the project for this work on behance))
  3. Hey guys! My first post here ;) Currently I'm prepping to shoot my first short-film. I've worked as a DP on commercials and documentaries, but never on narrative film. The script I'll be shooting involves a great amount of tension on the characters almost from beginning to end, so, along with the director (we've worked together a billion time, also as a directing duo) I'm deciding how to bring this tension to the camera. Hard sunlight hitting the subjects face on a low-key enviroment is a great option, but I'm seeking ways to create this tension/contrast through color/color mixing. "Moonlight", shot by James Laxton is a nice reference, so, I was wondering how Laxton accomplished some shots, especially these ones: On an interview, Laxton says he changed the greenish fluorescents from the restaurant to get this blue look (although at the exterior shot they seem quite green to me), the one working as a backlight on the interior shot. I was wondering what kind of lamp is that and at what temperature? I imagine that the inside tungstens are 3200K ~ 2800K, but the outside blue is just to blue to be a regular daylight 5400K. Also, at what white balance was the camera set to be able to capture yellow from the inside and blue from the outside? Thank you guys very much, really happy to be a part of the forum ;)
  4. Starting a feature this week and the director wants a very "yellow springtime" look to our lighting. Mostly the highlights. Attached is a photo and isn't the best because the female is blonde as is probably natural backlight but this is the the rough tone. So my question is: to get that warm almost sunset color without getting too red/orange, has anybody played with more yellow color correction on daylight lit scenes? So on our HMI's instead of adding CTS or CTO for a little end of day glow playing more with yellows. I've but aside (from LEE) 100 Spring Yellow 767 Oklahoma Yellow 101 Yellow 102 Light Amber 104 Deep Amber Has anybody played with these colors on bigger sources? (18kHMI / 6kHMI) I like the look of 100 Spring Yellow but am afraid will start to feel green when blasting with a big unit.
  5. Hi. Im trying to emulate the yellow light used in many resent movies. Im having a really hard time, im shooting on a blackmagic pocket cam. My light usually tuns out orange or brownish, but im really loving the yellow light. Some help please :) ?
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