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If I may chime in, it feels like we would need more context to really weigh in on this. A few thoughts though in case it helps anyways. You mention they are both facing north, so if you are trying to use two locations to cut this dialogue scene then that wont have lighting continuity. If they are supposed to be facing each other talking, then one would face north and the other south,etc (but again maybe I need more context).
You could also consider only shooting into one corner of the room that has all the elements you want, with a 2 shot of both characters to establish they are together. Maybe don’t even go into close ups and keep the 2 shot. Or punch in really tight on each close-up, like just the eyes while they speak. That could be stylized.
You could also make it so that they are having a conversation on the phone. Then you can have 2 locations and not fight them to feel like the same room. Also a natural light shoot, indoors with no window sounds like a tough task!
Just throwing some ideas to think about, without having context of your story
I searched in the archives here and found some related answers! Apologies for the repeated question. The answer seems to be that it is a good thing for the most part, but it depends. Haha!
Yeah definitely makes sense! Now this brought up another interesting thought, which I am probably overthinking but am curious about anyways haha.
Let’s say you are lighting a face for a ratio, say 4:1 or something. Does metering the contrast levels reference the LOG image, or the image after converted to rec709,etc.?
For example if you do use a light meter to light these ratios exactly, will converting to 709 or P3 crush those levels even more?
I can now see an issue using false color to set contrast ratios because you would be setting them for the LOG image. And then after converting to a given color space, it could increase the ratio levels. Is this correct or am I misinterpreting?
I’m not sure the right way to ask this question but hopefully this makes sense. It may not even matter if you go by the meter, but I’m now curious how contrast ratios would be affected between the log file and the colored image.
This is true, I suppose I used the term ratios a little loosely. I think of it that way when doing the interview setups. Since I use the false color on the run and gun scenes a lot, it makes sense for me to also use it for the interviews and seeing where my background levels sit, windows, shadow side etc. It just feels right to use a consistent tool. I’m also starting to be sold on just pulling the meter out with me.
Zebras are a good idea for the quick moving setups! Although I’ve liked the idea of seeing how many stops over I am in a certain area, versus just seeing if I am clipping or not (depending on the ire setting). But I could actually see that useful when moving very fast. Thanks for the ideas!
Ah yes, I do hope to reach that point one day. It makes total sense, and always appreciate your insight and responses Roger!
I should have been more clear in my first question about subject matter, my apologies. I do run and gun documentary shoots a lot. None or minimal lighting for broll scenes. Directors love to call for ‘verite.’
So I’ve found false color to be a really fast check in these scenarios, when the practicality of a light meter isn’t there. I don’t use it to light from, only to check my face levels and highlights really when working fast.
I’m just trying to make sure the lut/color pipeline isn’t tricking me
I am also open to hearing about and learning from other workflows if you have found a system that works for you!
Thank you for the reply, and these are great things to consider! The idea of losing information in my ratios is more speculative than anything. I’m trying to determine if I should be reading false color overlayed onto my LUT, or on the log signal.
I am using a SmallHD monitor (Indie7 at the moment). The camera really changes per project. Sometimes I will be able to use a Venice, F55 etc, which I can send out the Lut to the monitor. I haven’t tested this theory with these yet.
I found this issue using an A7siii/Fx3 (which are most of the jobs honestly) and these cameras do not send a lut to monitor. I have my viewing lut loaded into the SmallHD. I notice when I active false color, it automatically turns off the LUT. And I searched and there is no setting to keep the LUT on with EL ZONE. If I switch to Arri false color (on the smallHD) there is an option to leave the LUT on when viewing false color.
In theory, should false color be viewed with the Lut on or off?
Hope this helps give some context!
