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Guest Jason Walker

gels Mario Bava Basil Gogos

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Guest Jason Walker

I have a project coming up and some of the scenes are intended to look like Mario Bava films and Basil Gogos paintings. What are some of your favorite non- traditional gels? Thanks for any replies.

 

 

 

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Jason,

 

One the first things that you need to get is get a ROSCO or LEE swatch book. They usually give them away for free at film/tv production supply houses like BARBIZON or FILMTOOLS .

 

http://www.rosco.com/sbreqs/

 

You really need to get one to have a better tactile reference before buying gels. ROSCO also offers an online swatch book :

 

http://www.rosco.com/spectrum/index.php/tag/swatchbook/

 

Basil Gogos...wow.. what a talent !!!

 

Regarding that look, let me say first - DO NOT BE AFRAID TO USE HARD LIGHT (PAR 64, ellipsoid, fresnel fixtures). Experiment with scrims and flags to sculpt the hard light and apply soft background light of various color washes.

 

Most importantly, have fun!

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Guest Jason Walker

Thanks James. Went ahead and purchased a swatchbook. I'm just a little overwhelmed at all the gels they offer. Really liking that turquoise on nosferatu. A little concerned about the amount of light loss on some of the gels.

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Thanks James. Went ahead and purchased a swatchbook. I'm just a little overwhelmed at all the gels they offer. Really liking that turquoise on nosferatu. A little concerned about the amount of light loss on some of the gels.

 

Yeah, I really like that color combo on Nosferatu. Have a long talk with the set designer or whomever is in charge of set dressing. That can go along way toward helping you dial in the look you are after. Check out this short 16mm 200T test with the vivid STORARO (ROSCO brand) gels . It was shot by one of our veteran forum members Jonathan Bowerbank. Check out how the red looks much more clear when underexposed 1 stop.

 

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Check out how the red looks much more clear when underexposed 1 stop.

 

I was taught that you meter without the gel, otherwise you just desaturate the colour.

Edited by Mark Dunn

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