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If you want to do it yourself you can use the Studio Version of Davinci Resolve. It automatically creates subtitles from your audio tracks. If you have the English subtitles created, you can use ChatGPT to translate them to French and replace the original.
I can’t include YouTube links, otherwise it won’t let me post this comment, so I’ll try to add them in a second post.
how can I make the windows glow – look soft and natural, not overexposed – while still having enough light inside to properly expose the scene?
You can also use haze to raise the shadow levels and have the windows ‘glow’.
As long as shadow direction and falloff are approximately consistent, audience shouldn’t notice anything. Slight color temp variations are dealt with in post anyways.
One thing to consider is audio if there is a dialogue. The impulse response needs to be the same, or very close.
If audio does not match it will throw off the audience more than slight visual differences. Vice versa, if it sounds like recorded in one room, it will magically glue both shots together.
Not Roger but one thing to consider is that different colors of light can be more or less flattering on skin/subjects. Red light e.g. is very flattering (hence ‘red light districts’). So maybe a good idea is to start by choosing appropriate colours/gels for the par cans and go from there.
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?
Different manufacturers have different LOG curves but they all only serve the technical purpose of storing the best possible information into a compressed file. LOG is not ‘viewing ready’. It needs to be converted in an image that our eyes perceive as ‘normal’ (display), only then contrast ratios will represent what you have measured on set.
To do that you need to know what color space / gamma your monitor is in and use the appropriate conversion. Your external camera monitor might be Rec.709, your Macbook Air would need a Apple P3 (P3 D65 + sRGB gamma) conversion and so on.
I think copying is a natural part of the journey, but it should happen in the very beginning.
From there people usually develop their own way of doing things down the road.
As David said, LED technology is advancing fast. You can get very affordable units today that render good and accurate enough colours. If you get a relatively new LED light by one of the established LED film-light manufacturers, I don’t think you need to worry about color rendition these days.
He used the same LUT on all movies since shooting digital with Alexas, afaik created in collaboration with Joachim Zell of Arri, based on print film data sets.
It is the most wanted LUT in history and I don’t think you’ll ever see a side-by-side comparison frame with a standard conversion 😉
I’m shooting on a Canon C70 (Super 35), which isn’t the best camera for low-light situations.
Don’t worry, the C70 is excellent in low light due to its DGO sensor (Arri Alexa’s sport the same technology). It retains colours and detail many stops under and is even on par with the Alexa Arri LF. For best results, shoot RAW.
“Army of the Dead” (2021) by Zack Snyder, shot consistently at f0.95 with Canon Rangefinder lenses.
The movie is as shallow as the aperture used and a prime example of putting style over substance.
I like the book series “Master Shots” by Christopher Kenworthy.
It’s more of a picture book, analysing scenes from famous films, directors and DPs, all organised by themes. It’s a very practical tool, basically showing you ways how some of the masters went about specific scenes/tasks (e.g. a dialogue between two people with changing power-dynamics, ways to reveal something ect).
I never found myself copying something, it just inspires and helps to find your own solution when stuck.
