SUPER LOW KEY LIGHTING - Letus extreme + HVX200 short film screen grabs

[Deuceofspades]

All monitors are going to be different. Even same brand monitors will even look a little different from one another. LCD's typically don't have the contrast as a VGA. Just make sure they are all calibrated properly. I always do an average of different monitors so that I know I'm in the right ballpark.

Sounds wise

 

[Deuceofspades]

Faith, you need to properly calibrate your monitors (your editing monitor and your external video monitor).

You can read about the procedure here but there's plenty of info on the Web: http://www.synthetic-ap.com/tips/calibrate.pdf

There is not a shoot that I do not bless you for recommending I buy the 35 mm lens. It keeps saving my fannies each and everytime. Filming in small spaces, tiny rooms etc, I can never seem to be able to back far enough to get the framing I need, even with a 50mm, and that's when I pull out my 'secret' weapon: Your recommended 35 mm lens. Just wide enough to get the job done but not so wide that your actors start looking funny ...

Did my longest crabbing dolly shot ever yesterday going the entire 12 feet I travelled for a while while the action was going to end in a perfect medium shot on main character at the end. Needless to say, in order to make it through that doorway from one room into the next, I had to position the tracks a certain angle and that meant ending up too close to the main actor to really have the right framing with a 50mm. Cause this was my master shot. So the 35mm did the job. And nicely so if I may add .

In the shot I started [open framing] on a painting (only 2 feet from lens), with 4 fish, then you see the face of a strange looking woman (still the painting) pass by the frame, then you come out of the hallway and end up in the kitchen (nice wall parallax), I then rack focus on the actor who we can now see as he opens a kitchen cabinet in the far background (deep staging), as he walks back to the center table of the large, plush kitchen, the dolly travels with him, (more parallax from the table passing rigth by us) then the lens ends up lined up with a gorgeous glass vase with many facets and you get to see the actor through it for a few seconds, with a weird kaladeoscope effect (neat) then you travel past that and see a beautiful fruit plate with bright oranges and red papaya on it (more parallax) and then we end perfectly framing the actor preparing his dog a bowl of dog food.

Geese, all of this for a dude preparing a bowl of dog food??????


Yop. :happy:

Then of course, I could have simply shlapped the actor behind the table, aimed a 50mm lense rigth at him and told him: OK, prepare your dog food bowl now.

But you know what I alway say: It's not where you end up, it's how you get there rogar-Happy(DBG):

 

[Deuceofspades]

PS: the rich, but lonely doctor coming home to his dog and the owner/ dog relationship and the dog himself is a vital element of my short THE BENCH, as the dog itself becomes a catalist for 5 destinies to become "coincidentally" entertwined, so actually that moment when he comes home to his dog at the beginning of the short is very important and that is why I took the time to film it like I did. This is a key scene that triggers a series of events so I gave it my best, cinematography wise.