Hudson Practicing Lighting
- Thread starter J.R. Hudson
- Start date
J.R. Hudson
Spirit Animal
LOL
Naomi Watts? 21 Grams. Mullholland Drive? King Kong? The Ring?
Naomi Watts? 21 Grams. Mullholland Drive? King Kong? The Ring?
taubkin
Veteran
John, about the couch pictures, I like the first two a lot, especially the first. It's simple, real, and effectve. I really like the trend to leave interiors underexposed, just like the main character's apartment in "Sideways", or the interior shacks of "Zaitoichi".
The night scene is nice, but a little flat for a candle lit situation. Matt's Chiaroescuro, flagging the walls and with more blacks in the frame seem more classical... What I did not like in most of your grabs was the colors, I think everything went to a pastel look, including your boy's skin that simply did not make it for me. When we compare the 21 Grams frame, highly saturated, with a dominant hue, we see the clear difference...
As for the Falcon, let it fly!
The night scene is nice, but a little flat for a candle lit situation. Matt's Chiaroescuro, flagging the walls and with more blacks in the frame seem more classical... What I did not like in most of your grabs was the colors, I think everything went to a pastel look, including your boy's skin that simply did not make it for me. When we compare the 21 Grams frame, highly saturated, with a dominant hue, we see the clear difference...
As for the Falcon, let it fly!
J.R. Hudson
Spirit Animal
Thank you taubkin for making these suggestions. I am working tonight on some more stuff and will post for imporovement hopefully.
MattC
I did not CC the grab on Naomi; it's a Production Still but who knows what they did to it. The film is very gritty as his Amorres Perros (Same filmmakers).
MattC
I did not CC the grab on Naomi; it's a Production Still but who knows what they did to it. The film is very gritty as his Amorres Perros (Same filmmakers).
J.R. Hudson
Spirit Animal
I ripped these off the DVD; I made the window size comparable to our 720 X 480 but they came out 704 X 400; 
Anyway; the grain is still there and just gets more showcased as you move up into Full Screen
Obviously, this look has a time and place; in an Undead Film for example
BUt I like it. My grain is being induced mainly incamera and sleight in post; NOT ACTUALLY ADDING GRAIN but adjusting curves and BRIGHT/CONTRAST
Anyway; the grain is still there and just gets more showcased as you move up into Full Screen
Obviously, this look has a time and place; in an Undead Film for example
BUt I like it. My grain is being induced mainly incamera and sleight in post; NOT ACTUALLY ADDING GRAIN but adjusting curves and BRIGHT/CONTRAST
J.R. Hudson
Spirit Animal
You shot that? I love it. This tells a story.
J.R. Hudson
Spirit Animal
You are correct
"We also played with different film stocks to keep the grain structures in different contrasts as the stories developed," Prieto continues. "When things were looking up for the characters, we'd use a finer-grained stock." For Paul's story, that meant Kodak Vision 250D 5246 stock for the scenes following his transplant, and for most of his scenes with Cristina. (Night interiors involving these characters were shot with Kodak Vision 500T 5279.) "Then, as things get more complex, we go to a heavier grain [Kodak Vision 800T 5289]. The first third of Jack's story was 5279, and then we moved into 5289." In fact, the transition occurs in the midst of a sequence in which friends are gathered for Jack's birthday party, and the guest of honor is absent.
"Scenes that show the party happening without him were filmed on 5279, and the moment he arrives, we changed to 5289," says Prieto. "It's so subtle that it's likely no one will consciously notice it." When the characters converge in New Mexico for the film's climax, the scenes are rendered entirely with the heavy-grained 5289, made harsher by the bleach-bypass process.
...For day exteriors in the New Mexico desert, Prieto was rating the 800-speed 5289 at 1,000 ISO to underexpose for the bleach bypass. "Because we were shooting at 1,000 ISO at noon in the desert, I had to use heavy, heavy [ND] filtration and Polarizers on the lens. Of course, we ended up shooting until the last moments of light, so even with the high rating, there were shots where I was working wide open without any filtration. Matching became a little tricky!"
"We also played with different film stocks to keep the grain structures in different contrasts as the stories developed," Prieto continues. "When things were looking up for the characters, we'd use a finer-grained stock." For Paul's story, that meant Kodak Vision 250D 5246 stock for the scenes following his transplant, and for most of his scenes with Cristina. (Night interiors involving these characters were shot with Kodak Vision 500T 5279.) "Then, as things get more complex, we go to a heavier grain [Kodak Vision 800T 5289]. The first third of Jack's story was 5279, and then we moved into 5289." In fact, the transition occurs in the midst of a sequence in which friends are gathered for Jack's birthday party, and the guest of honor is absent.
"Scenes that show the party happening without him were filmed on 5279, and the moment he arrives, we changed to 5289," says Prieto. "It's so subtle that it's likely no one will consciously notice it." When the characters converge in New Mexico for the film's climax, the scenes are rendered entirely with the heavy-grained 5289, made harsher by the bleach-bypass process.
...For day exteriors in the New Mexico desert, Prieto was rating the 800-speed 5289 at 1,000 ISO to underexpose for the bleach bypass. "Because we were shooting at 1,000 ISO at noon in the desert, I had to use heavy, heavy [ND] filtration and Polarizers on the lens. Of course, we ended up shooting until the last moments of light, so even with the high rating, there were shots where I was working wide open without any filtration. Matching became a little tricky!"
taubkin
Veteran
It's my grandfater, my grandmother and a friend that looks incredibly suspicious... It could be a cover for an Agatha Christie's novel
I like it too. Normally it doesn't get this good... :undecided
So they didn't actually push the negative, for those internals, but they used an ISO 800 and BB, thet did the trick... Very cool!
I like it too. Normally it doesn't get this good... :undecided
So they didn't actually push the negative, for those internals, but they used an ISO 800 and BB, thet did the trick... Very cool!
Bill_Hooper
Active member
John, to get back to my original comment that in the 2nd and 3rd couch grabs the left side of your boy's face is yellow, it's not that you didn't white balance that bumped me. It was the fact that it looked like the left side of his face was lit by an indoor fixture - and it's odd that a fixture would generate yellow light.
Knowing that you used a mirror, that's why the color temps are the same, but they should be different (in my opinion, anyway). Seems like outside would/could be yellow for the sunset, but inside it would be wamer for the tungsten incandescents - more orangey.
I also wonder how it would look if outside it was yellow and inside it was a truer white light.
I really should be doing what you're doing. I just gotta have me one of those standins, er, babies.
Bill
Knowing that you used a mirror, that's why the color temps are the same, but they should be different (in my opinion, anyway). Seems like outside would/could be yellow for the sunset, but inside it would be wamer for the tungsten incandescents - more orangey.
I also wonder how it would look if outside it was yellow and inside it was a truer white light.
I really should be doing what you're doing. I just gotta have me one of those standins, er, babies.
Bill
J.R. Hudson
Spirit Animal
Thanks Barry
Im so frustrated waiting for our next production I need to do something. Lighting is a huge weakness for me. Just trying to make due with what I have and understand what motivates the lighting
Im so frustrated waiting for our next production I need to do something. Lighting is a huge weakness for me. Just trying to make due with what I have and understand what motivates the lighting
STORYTELLER32
Well-known member
MattC got what I was getting at. The toy is plastic looking so I suggested color grading (or color correcting) it. Of course actually airbrushing the toy itself and lighting it with the environment you're placing it in is the best way to go. But barring that, if you're gonna mess around, I'd say color grading the source footage prior to compositing it is second best. Either way it doesn't matter because you're just messing around.
PS: take Echinacea/Goldenseal root to get out from under the weather
PS: take Echinacea/Goldenseal root to get out from under the weather
J.R. Hudson
Spirit Animal
I understand ST32
I might start exploring this more and as I learn Ill take a little more serious from that standpoint; no toys but actual models. Doesnt anyone shoot in camera anymore? Funny, instead of CGI on this, it's actual filming which is funner. Ill grade it on the next one.
I might start exploring this more and as I learn Ill take a little more serious from that standpoint; no toys but actual models. Doesnt anyone shoot in camera anymore? Funny, instead of CGI on this, it's actual filming which is funner. Ill grade it on the next one.
STORYTELLER32
Well-known member
I always think in camera is the best way to go. Especially for creatures. I'm tired of seeing CGI creatures, looks like I'm watching a video game. One of the things I loved about lord of the rings was the massive use of in camera miniatures. Simply amazing. I watch the behind the scenes of that more than the movie lately, lol...
J.R. Hudson
Spirit Animal
Well, I learned alot tonight; Here are some grabs; but no footage as it just didnt come out how I wanted; I'm going to work on this till I get it right.
I laid out 20' of dolly track and made some passes from near to far. It was just not as smooth as it could have been. I got impatient and didnt take my time. The ship is moving kind of up and down through flight and not the soap on rope space travel it shoud be. Part of the problem is leveling the track; my tile floor has imperfections, the slab is uneven, etc.
Ill keep trying; I feel like a kid again! :cheesy:
I laid out 20' of dolly track and made some passes from near to far. It was just not as smooth as it could have been. I got impatient and didnt take my time. The ship is moving kind of up and down through flight and not the soap on rope space travel it shoud be. Part of the problem is leveling the track; my tile floor has imperfections, the slab is uneven, etc.
Ill keep trying; I feel like a kid again! :cheesy: