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That sounds wonderful, I love Japanese cinema but don’t know that one!
This reminds me of “Beyond the infinite two minutes”, also a Japanese movie, Shot in one location. It’s Shot in one take but with marvolous, typicall Japanese twist. During the end credits you see how they pulled many of the Shops off – with sheer and hilarious creativity.
Thanks, I will check it out!
I just watched ‘Primer’. Made on a budget of $7.000 and a crew of 6, including the lead actors. They cleverly used what they had, embracing restrictions. It just works. It won the 2004 Sundance Great Jury Prize, being refreshingly different and smart.
When shooting raw I like to lower ISO just a tad bit to get a “thicker” negative, especially in low light scenes, but am generally an advocate of getting it as close as possible to the final look in camera. For example I like Alexa’s noise and night exteriors shot at ISO 1600.
“I’m wary about my work being judged as not up to snuff if that room for tinkering isn’t there. Perhaps this is a consequence of the level I’m working at currently, and it’s something one has to learn to navigate with collaborators.”
I know what you mean. I often didn’t have a say in post and it happened a lot that the colorists changed exposure – and thus mood – distinctly. I think it definitely depends on the scale of the production – the smaller, the more tinkering in post in my experience.
I did a similar quick test once with a blue filter in order to see if it’d help with day-to-night conversion. Shoot raw to be able to visually losslessly change white balance in post.
I couldn’t see a difference between using the blue filter and using no filter but turning WB to a higher Kelvin in post.
Modern cine cams are so good at balancing temperature, would be interesting to know if you’ll see a difference at all with that test.
Thank you David!
“It was convincing about half the time. One problem is that the filter needs a light source to hit it, like a window or a bright highlight, to really see the effect, but when someone passes between the window and the filter, the effect disappears momentarily, which is odd.”
I think that confirms my concerns. Having to take extra care so it doesn’t behave odd isn’t efficient or worth it.
I’ll still look into Smoque though because the way you use it on inserts makes a lot of sense, thanks for the tip!
There are also affordable but great alternatives to the Astera Titans (Godox, Nanlite ect). You might also consider flex-LEDs (e.g. Falcon Eyes) as they are lightweight, larger/soft sources and great for travel or mounting at ceilings ect and come in Bi-color and/or full RGB.
A word in general, Chinese / Korean brands (e.g. Aputure, Nanlite, Godox, Falcon Eyes) have come a long way the past 10 years, the LED light emitter quality is already there and built quality finally also catches up with “western” quality, but at much lower prices, so if your budget is low it might not be a bad idea to look there.
Are you referring to the Christian Bale rant on the set of ‘Terminator Salvation’ in 2009?
“Bale verbally goes off on the film’s cinematographer Shane Hurlbut, who had walked onto set to check a light during the filming of a scene. This was apparently the second time he had done this…”.
I would say that is a very different situation than adjusting the lights when the actors arrive on set, which is being done all the time on the productions I am on. But I also don’t know the workflow on bigger budget productions.
I always loved (but never tried) the “BroomCam”: rig a camera onto a broom for an ultra low ‘steadicam’.
” Is there any benefit to doing this versus a correct white balance in digital?!”
No. You could make tests but I don’t see this resulting in anything desirable.
What is holding the tunnel? If you sew several pieces together you could hide the seam near the scaffold. Lighting from outside could help to hide the seams too depending on the intensity of light and thickness of fabric.
