Keep Restoring The Faith!

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XSVpro

Well-known member
A few screen grabs from the first two days of a short film that i am the DP on;

From a 360 degree dolly (home made ride on dolly that goes round corners!) Set was dressed from scratch, i researched and tested tons of practicals (the motivation for the three china balls above the actors), these are from the 35mm and 85mm Samyang Cines via the Speedbooster - Cine V and Norm 1 Gamma Detail -2

360 Dolly Grant & Leo 1.jpg360 Dolly Grant 1.jpg360 Dolly Grant 2.jpg360 Dolly Grant 3.jpg360 Dolly Leo 1.jpg360 Dolly Leo 2.jpg

And a shot on location at a Bar in central london

Scene 8 Leo & Hoffman 2.jpg
 
Cant seem to get full res PNG grabs from FCP to load into the post so i think these are quarter res shots
 
Can you PM me your rates/details? Always good to know more AF101 shooters in the area, we're based over in Hackney Wick
 
This just shows once again that it has very little to do with what camera you use. It's all about the talent behind and in front of the camera.
 
I too am a London based AF101 shooter.

The first 6 shots look stunning. The soft light and the colour pallet makes it look like something from 'Mad Men'.

The final image however less so because of the harsh side light.
 
Thanks for your comment Gary, always great to get feedback. Sorry ive not been here for a while. You don't like hard light? i love using hard light, it creates very structured shadows and looks great with aerial diffusion or tree cut outs/venetian blinds etc :0).

It's a script thing anyway, its supposed to be mid afternoon and i have three shots, this mid shot a wide master and close up reverses. In the wide (thats not featured) you see the typical wall size frosted windows you have in london pubs which are topped with a clear piece of glass, basically 8ft of glass with the bottom 70% frosted with logos. So my script motivation was to put them in a fair degree of safe shadow for the grader as there is a dodgy deal going down, my light motivation was harsh sunlight making it in over the frosted glass through the clear pain, in this mid shot it was easy to do but in the wide shot i had 0.6 ND put on the clear glass to bring them into an acceptable range for the AF100 to expose and then reenforced/recreated the look i was after with two ARRi 650s (screen left), i shot the wide first and was simply tweaking the close up with a small LED light. The office is his domain so the light is softer and warmer but its also very late evening in the script (though this is shot during the day) so of course the lighting is completely different in tone, quality and temp.
 
Detail -2
V_Detail -2
Coring -2
Chroma -3
Cine-Like V
Norm_1

Everything else at 0, i shot both compressed and to the Hyperdeck 2 (which honestly doesn't give you much). I had my 2nd AC hold up a grey card in a shadow area that fell below 50IRE (25-30) on the 1st take of any new slate (not every shot), in post i can sample that and use Neat to remove any noise, the Hyperdeck footage works the best this way as the noise pattern has no compression artefacts interfering with its pattern, you also want to lower the chroma like i did and not use Norm2, it robs detail and when it gets noisy it's usually in the blue channel which just screams video camera ;0)

So the shots you see here have not been graded as such they have only passed through the process i used in pre-production to determine my scene file which is, only shoot at the 3200 or 5600 presets, grey card the 1st take for the noise pattern
 
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