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    'Colony' (Sci-Fi Short)
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    Senior Member Grug's Avatar
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    Hi guys,

    Here's 'Colony', a gritty little sci-fi short I shot on the F3 a while back, that's just been released on DUST (and generated some, shall we say, "energetic" discussion over there!).



    I think it's a pretty good example of just how much punch the 4:4:4 image out of the F3 can pack, as it's a pretty extreme (and specific) grade I used to create the sense of an alien world.

    It was a seriously tough one to shoot, wildly under-resourced as we were. But an exciting challenge thanks to the range of techniques I had to apply (dry-for-wet, wild exteriors, and studio interiors, complex composites, vfx plates etc. etc.). It was a production that really forced me to stretch myself, and I always appreciate that.

    Here are some screengrabs, and if they pique your interest, feel free to take a look at the finished film.

    Would love to hear people's thoughts.

    Cheers,

    Mark















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    Over the years, I have seen you master the F3.


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    #3
    Totally Usable Mod Stephen Mick's Avatar
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    Beautiful. And I could care less what camera it was shot with. Great work, as usual.
    Stephen Mick
    Owner/Creative Director
    Skylark Creative

    weareskylark.com


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    Junior Member HU_Nathan7's Avatar
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    This is stunning. I’m curious as to what was the budget?


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    #5
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    Looks tremendous. Great!


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    #6
    Senior Member Grug's Avatar
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    Thanks guys, appreciate the kind words

    Quote Originally Posted by HU_Nathan7 View Post
    This is stunning. I’m curious as to what was the budget?
    I don't know the exact figure, but it was REALLY tight. I think it may have been around $4-5k all in. Our lovely production designer Maddie built three of the tents in total. I shot plates of them from multiple angles to allow our VFX wiz to do the set extensions with.


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    #7
    Senior Member GaryinCalifornia's Avatar
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    Great work as usual...


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    #8
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    I know you sold your F3. did not pulled the trigger for the second one and watch it dissapear under my nose on ebay. What is th magic recipe that you used in mny of your movies to get the most of the F3 ? Many had the camera but what you were able to get from an F3 is top notch
    Last edited by Cristian Mihai; 11-08-2019 at 07:21 PM.


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    #9
    Senior Member Grug's Avatar
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    Quote Originally Posted by Cristian Mihai View Post
    I know you sold your F3. did not pulled the trigger for the second one and watch it dissapear under my nose on ebay. What is th magic recipe that you used in mny of your movies to get the most of the F3 ? Many had the camera but what you were able to get from an F3 is top notch
    I honestly couldn't pinpoint a magic recipe for the F3 specifically. It's the same approach I've used with every camera and format, from the filmstocks I initially learnt on, to the digital formats today.

    I use my lightmeter to set the ratios that I want on set (or want to balance to on location), and work hard to maintain the consistency of those ratios throughout the scene.

    It's also about learning how much latitude the sensor or stock you're using will give you, and how much leeway you have to under or overexpose it for the sake of capturing the full dynamic range of that scene. Highlights are always the thing that gives away digital capture (compared to film), so doing everything you can to protect them (without compromising your midtones too much) is really important to me as someone who's generally trying to create images that look "filmic".


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    Hey there. I was more interested in the post production workflow, luts ( if any ), color grading. I have seen a lot of F3 footage but your results are by far among the best if not the best :-)



    Quote Originally Posted by Grug View Post
    I honestly couldn't pinpoint a magic recipe for the F3 specifically. It's the same approach I've used with every camera and format, from the filmstocks I initially learnt on, to the digital formats today.

    I use my lightmeter to set the ratios that I want on set (or want to balance to on location), and work hard to maintain the consistency of those ratios throughout the scene.

    It's also about learning how much latitude the sensor or stock you're using will give you, and how much leeway you have to under or overexpose it for the sake of capturing the full dynamic range of that scene. Highlights are always the thing that gives away digital capture (compared to film), so doing everything you can to protect them (without compromising your midtones too much) is really important to me as someone who's generally trying to create images that look "filmic".


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