Forum Replies Created
-
Replies
-
I usually use 150 or 250 watt bulbs to rig an oil lamp in this way but for ‘1917’ I used 500 watt bulbs of the same kind as are used in conventional Tungsten Fresnel lamps. These were all I could find in the UK, although I have a great range of quartz bulbs in my garage in the US.
Once or twice I have used a small strip of blackwrap between the twin bulbs, to hide the one that was away from camera and brighter, but I don’t remember it being necessary to do this on ‘1917’.
I can’t say I ever change the settings on the Alexa Mini or the LF. Personally, I don’t see why you would. Would it not be better to adjust the image in the DI if you feel the need. You could then adjust sharpness and also add grain.
I would be very surprised if the LUT I use is very different from any other. The only adjustment in it is to the contrast curve and the amount of color saturation. That is standard for any LUT that translates the RAW data.
There are two films, ‘In Cold Blood’ and ‘Fat City’, that are indisputably brilliant pieces of film making with cinematography that could not be more perfect. Of course, there are so many films one could mention but these two, so different in style and tone, reflect how ‘right’ cinematography can be. Again, only my opinion and ……
It is possible to learn something from every film. The more you use your eyes the more you can settle on what you like and how you want to translate an idea into an image. There are some films that I do not think are well shot and I know I am in the minority of opinion on that. But that is my taste. It is not universal and, obviously, not that of the film’s director and cinematographer.
As the saying goes – there is good cinematography and bad cinematography and there is the cinematography that is right for the film.
You are so right! I think it was that we had to have a Signature re-collomated so we carried the S7 as a stop gap measure. Just goes to show ….
I love the lenses but we did not carry Cooke S7s on ‘Empire’. I don’t remember having need of a spare lens, which can happen if one of a set falls out of collimation and there is no direct replacement. I also checked my equipment list to make sure there was only the one set of Signature Primes there and that’s all there was!
I think you will find in the podcast there are many ways to get into the industry. Film School is not a must and certainly not the best course for everyone. For myself, the National Film School helped me gain some level of confidence.
I just re read Vassily Grossman’s books ‘Stalingrad’ and ‘Life and Fate’. Anyone with a few hours to spare should…… More understanding of ‘life’ than any film.
It is a shame that there is no longer the softer 20o0ASA stock. My past experience led me to shoot on a tungsten balanced stock with an 85 correction rather than a daylight stock. I felt the daylight stocks a little over-saturated and had that bit more contrast, but I am talking of my experience a while ago now.
Hard to give advice as to exposure as it would depend a lot on whether you are shooting on a beach or amongst dense foliage! I have overexposed and underdeveloped in the past but I would not recommend doing it today unless you have great confidence in your lab! Besides, it seems like complicating your task without a vast amount of reward.
I think you should run a test to be sure which you yourself prefer and to give yourself a little more confidence.
