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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 u
  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 Sovie
  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. "
  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
  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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