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Tiago Pimentel

Lighting setup for this film

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Thanks Stuart. Do you know if the REC709 monitoring in Alexa is similar (or the same) as the Arri Log C to 709 LUT that comes with Resolve?

 

Thanks

It is quite similar, but I don't know if it is exactly the same.

 

As for IR, up to ND .9 I wouldn't worry about it. Unless you are blacking out windows to shoot in daytime. If you do, it is possible to see IR exposure through the blacks. I have had to place an IR filter, without ND, on the camera to solve this a couple of times. I think it was using a RED camera, so I'm not sure if this issue will be as bad with an Alexa. But, it's possible.

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Do you know if the REC709 monitoring in Alexa is similar (or the same) as the Arri Log C to 709 LUT that comes with Resolve?

I would imagine that it is, but you may want to have the post facility download the latest version of the LUT from the Arri website.

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It is quite similar, but I don't know if it is exactly the same.

 

As for IR, up to ND .9 I wouldn't worry about it. Unless you are blacking out windows to shoot in daytime. If you do, it is possible to see IR exposure through the blacks. I have had to place an IR filter, without ND, on the camera to solve this a couple of times. I think it was using a RED camera, so I'm not sure if this issue will be as bad with an Alexa. But, it's possible.

Yeah, we'll definitely block the windows to shoot during daytime. Can this actually cause IR contamination? I'll take an IR cut filter and put it in all the time. Won't hurt to use it...

 

Thanks

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Yeah, we'll definitely block the windows to shoot during daytime. Can this actually cause IR contamination? I'll take an IR cut filter and put it in all the time. Won't hurt to use it...

 

Thanks

Don't use the IR cut filter unless you need it. Often they alter the color in a not good way. But have one on hand for the event that your black windows show light, but only in the camera and not to your eye.

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Thank you all for some great input. Most of the production is over and I was looking at some of the stills. These are just log to rec709 factory LUT.

 

 

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Edited by Tiago Pimentel
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Thanks Giacomo. I am very happy with what we shot!

 

I have a question for this forum, especially those of you who already worked with Alexa footage in post. Do you use the Arri LUT generator to bring the footage to 709 or do you grade from scratch in the raw tab and do the secondaries in nodes? I read somewhere (I think it was Arri website) that Alexa footage (LOG-C of course) should be used in conjunction with one of their LUTs, because it's the only way to uncover their color science. I've tried different LUTs from their website (including the one in Resolve) and they all look the same to me. Any thoughts?

 

Thanks!

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I always use the Arri 709 LUT as a starting point, and then make adjustments on another node in Resolve. Occasionally, I've had colorists who prefer to work from scratch, but it always takes longer, and sometimes they have problems with dealing with difficult areas like hot highlights.

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If you've recorded Arri LogC, then yes, use either the ARRI LUT, or the LUT in resolve (if you're using resolve), or the Arri LogC / REC 709 transform in Resolve. The LUT contains the color matrix conversion that you need to use the ARRI color science. If you just "turn the knobs" without it, you'll find some strange color science. Maybe you'll like it, but, probably not.

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What a wonderfully informative post this has been to read through! Would be great to see how the shots turned out following post work.

 

Great planning and production shots!

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Thank you for this topic, Tiago. It's great to see your ideas and lighting plan evolve as you move through pre-production and then to see some frame grabs from the shoot.

 

Would it be possible for you to share details of the final lighting set-up that you used for the shoot?

 

Will you be able to post any graded stills or a trailer for this project eventually?

 

It looks great.

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Would it be possible for you to share details of the final lighting set-up that you used for the shoot?

 

Will you be able to post any graded stills or a trailer for this project eventually?

 

 

 

This would be great!

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Thanks guys. The film has reached picture lock and it's currently going through sound editing which should finish by the end of next week. We have the grading going at the same time, so I'm counting on having the film completed by the end of this month.

 

Here are some stills and BTS:

 

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Great and informative thread!

I would really appreciate looking into any moving picutes.
Can you give us a trailer or excerpt of the film?

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Hello!

 

We should have a trailer soon. Color grading work has just finished by our fantastic colorist Juan Melara. A few stills:

 

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