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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.
I used hexagonal soft boxes that were supplied with the Fiilex lamps and come with a variety of diffusion. I had a total of 5 lamps with these soft attachments and either use a line of 3 or of 5. I would usually dim the outside units more than the center of the line and I might add warmth to these as well. In this way I was, to some degree, replicating bounced light as if off a series of 4′ x 4′ cloths. As I said before, using the Fiilex with the soft boxes attached was a much more efficient way to light and served its purpose on ‘Empire of Light’.
The easy color adjustment on the lamps was a big bonus as our key set, the theater lobby, was built on location and facing out across the seafront. Therefore I was balancing my lighting to the ever changing temperature of the daylight. I wouldn’t say this use of LEDs is now my preferred way to light but it certainly suited the conditions on this particular project.
Interesting! I shot both interiors and exteriors for ‘Shawshank Redemption’ on a tungsten stock without a correction filter and I exposed at the ‘box speed’. I did the same on other films and always exposed the tungsten balanced stock at the film’s base ASA. I don’t see any reason you wouldn’t shoot at 500 ASA but I am open to persuasion!
It was the Fiilex LED light that I found came close to a conventional 1K. There was only the one wattage available in the UK at the time we shot ‘Empire’ but the same light now comes in a series of three. Of course, the advantage of this lamp is that it provides a full color range without a need for gels but I found it particularly useful as an open face with a soft box attached to the front. Using a series of lamps with soft boxes attached I found I did bounce less than I might have done in similar situations on previous films. I felt this technique produced a similar effect to bouncing off a series of 4′ x 4′ reflectors while being more adaptable for the spaces and situations I was working in.
The Astera range is very useful and we used a large number of both the tubes and bulbs. For one interior we created a series of large rings of bulbs, just as I have done in the past for films like ‘A Serious Man’ for instance, but the advantage here was that I could adjust the color from one scene to another.
The panel lights are useful, especially when creating a large soft source to project through a window either on stage or on location. The technique of using multiple sources to create one large soft source is something I have always used but the latest LED lights make things easier and definitely a little more flexible.
In the case of ‘The Company Men’, I would say the intended ‘look’ would have been between the two versions posted. The Blue Ray looks more natural but that may only be in comparison to the other, which looks lifeless. There may be a master of a film, whether from a DI or a tape transfer, but we all know every monitor is slightly different and every eye also.
Your opinion is as relevant as any other. As I said to the director, I would like to see a film that deals with the ‘between the wars’ period, after Versailles. War itself can be ‘entertaining’ on film (‘Top Gun’ and the rest) but is less interesting than the sociological reasons that lead up to it and the consequences that follow when the fighting stops.
