SJX
Veteran
Yes! And this is only stills. F35 biggest difference and advantage is when moving. Film like!
F35: The old girl does Bollywood
- Thread starter Grug
- Start date
Yes! And this is only stills. F35 biggest difference and advantage is when moving. Film like!
SJX
Veteran
So many awesome shots so many creative and stylized ones. But this shot is the most mainstream. Could be from any high end TV show or movie. Nobody would say why you shot with old camera. Nobody would know.
torresfilms
Well-known member
Wow bro! Amazing shots! I used to own an f35 a couple years ago and I’ve been itching to purchase one again. I was debating but this thread and your screen grabs have me convinced! Lol The image off this cam
Is just incredible.
Is just incredible.
Grug
Veteran
Thanks guys.
"Never Back Down" was the primary reference for colour/look that I was given. So I pushed the image towards that with a glossy, somewhat specular Kodak Vision filmstock vibe. Warm skintones, deep colours, high-contrast.
I shot almost the entire film at 5600k to help that along, with a fair amount of uncorrected tungsten light playing in to add warmth. At 3200k I just didn't like what the F35 was doing to all those golden Indian skintones, it was making my cast look sickly. So I shot everything at 5600k and just pulled back the warmth in the grade if needed (which was pretty easy to do with 12-bit 4:4:4 ProResXQ masters).
The grade I built up around an Impulz Kodak LUT, with film grain added to keep a consistent level of texture. There's so many different colours all around you in India, I liked that the Impulz LUT compressed a lot of those colours into a narrower spectrum. It helped constrain the colour palette to something that felt a bit more "designed" (if that makes sense?).
The whole film generally had a 1/4 Black Promist on it. With a few dream sequences bumping up to a 1/2 BPM + Nets + Vaseline on a clear filter to make things "dreamier".
"Never Back Down" was the primary reference for colour/look that I was given. So I pushed the image towards that with a glossy, somewhat specular Kodak Vision filmstock vibe. Warm skintones, deep colours, high-contrast.
I shot almost the entire film at 5600k to help that along, with a fair amount of uncorrected tungsten light playing in to add warmth. At 3200k I just didn't like what the F35 was doing to all those golden Indian skintones, it was making my cast look sickly. So I shot everything at 5600k and just pulled back the warmth in the grade if needed (which was pretty easy to do with 12-bit 4:4:4 ProResXQ masters).
The grade I built up around an Impulz Kodak LUT, with film grain added to keep a consistent level of texture. There's so many different colours all around you in India, I liked that the Impulz LUT compressed a lot of those colours into a narrower spectrum. It helped constrain the colour palette to something that felt a bit more "designed" (if that makes sense?).
The whole film generally had a 1/4 Black Promist on it. With a few dream sequences bumping up to a 1/2 BPM + Nets + Vaseline on a clear filter to make things "dreamier".
Grug
Veteran
Phwoar... you've got me digging into the old memory banks for these ones. I can't remember now whether I rated the camera at 400 ISO or 500 ISO for the duration of the shoot. I think it was 400 - in order to make the math easier on my brain whenever we were adding the F3 (our B-camera) into the action at 800 ISO.
This one was an Arrisun 4k HMI Par, with (I'm pretty sure) a Medium-Spot lens firing in from just outside the window for the backlight. And either a 1.2kw or 1.8kw bulbed M18 bounced into an 8'x8' of Grifflon for the key.
This one was actually mother nature's idea, not mine. We'd already shot this coverage, and Eric was hanging in his chair as we were covering the opposite side of the scene. When the setting sun suddenly peeked its way through a gap in the roof above us, and put that fantastic ray of sunlight behind him.
I saw it and hurried to flip the entire scene around to grab Eric's shot again before we lost the light, but we couldn't turn around fast enough. So I recreated it with a 4k Arrisun (gelled with full CTO) through a forest of flags to recreate the slash of sunlight. And a pair of 4' 4-bank Kinoflos (orientated vertically) to reinforce the ambient daylight that had been coming through an open doorway to the left of frame.
The flags creating the slash of sunlight also acted as negative fill on Eric's left cheek.
Good pick with this one! I think this is actually my single favourite shot from the film.
The scene it's from kind of highlighted the none-too-subtle sexism I saw everywhere in India, and this mother literally and figuratively trapped in the kitchen and forced to not only warm up a glass of milk for her husband, but also cool it down for him when he finds it too hot - seemed to sum up so much of the behaviour that was bothering me (and our actress knocked it out of the park).
The lighting was an M18 (gelled with 1/2 CTO) through a tiny little window to the left of frame (which gave us those prison-like bars on the wall). And the key was from a 650w tungsten fresnel, bounced up into the ceiling/wall to camera-right. And if I'm remembering correctly, a bit of poly to camera-left for fill.
This one was an Arrisun 4k HMI Par, with (I'm pretty sure) a Medium-Spot lens firing in from just outside the window for the backlight. And either a 1.2kw or 1.8kw bulbed M18 bounced into an 8'x8' of Grifflon for the key.
This one was actually mother nature's idea, not mine. We'd already shot this coverage, and Eric was hanging in his chair as we were covering the opposite side of the scene. When the setting sun suddenly peeked its way through a gap in the roof above us, and put that fantastic ray of sunlight behind him.
I saw it and hurried to flip the entire scene around to grab Eric's shot again before we lost the light, but we couldn't turn around fast enough. So I recreated it with a 4k Arrisun (gelled with full CTO) through a forest of flags to recreate the slash of sunlight. And a pair of 4' 4-bank Kinoflos (orientated vertically) to reinforce the ambient daylight that had been coming through an open doorway to the left of frame.
The flags creating the slash of sunlight also acted as negative fill on Eric's left cheek.
Good pick with this one! I think this is actually my single favourite shot from the film.
The scene it's from kind of highlighted the none-too-subtle sexism I saw everywhere in India, and this mother literally and figuratively trapped in the kitchen and forced to not only warm up a glass of milk for her husband, but also cool it down for him when he finds it too hot - seemed to sum up so much of the behaviour that was bothering me (and our actress knocked it out of the park).
The lighting was an M18 (gelled with 1/2 CTO) through a tiny little window to the left of frame (which gave us those prison-like bars on the wall). And the key was from a 650w tungsten fresnel, bounced up into the ceiling/wall to camera-right. And if I'm remembering correctly, a bit of poly to camera-left for fill.
SJX
Veteran
Wow Grug, thanks. Great memory. 
Maybe I'm stretching but you remember your key values? For shot 3 with the mother. How much the 650w bounced from ceiling gave you for key t-stop? What about the key from the M18 through grifflon on Eric in shot 1? If I understood right the key on Eric right side in shot 2 is also from the sun effect?
Maybe I'm stretching but you remember your key values? For shot 3 with the mother. How much the 650w bounced from ceiling gave you for key t-stop? What about the key from the M18 through grifflon on Eric in shot 1? If I understood right the key on Eric right side in shot 2 is also from the sun effect?
Grug
Veteran
Wow Grug, thanks. Great memory.
No idea on meter readings! But shooting 400 ISO with T/2.9 lenses, we rarely needed to add much ND in front of the lenses, only a stop or two at most.
Eric's key in shot 2 is coming from the Kinoflos off to the side, the slash of "sunlight" was playing in over his head (so it wasn't actually hitting his face).
SJX
Veteran
I misread what you said as the kinoflos was for the background. Sorry. So you shot mainly wide open at T2.9 then? And you actually had times you needed to add ND in these internal shots? Interesting because I feel I need 1Ks for key at minimum with F35 even at t2.0. Unless light is very close to actor. Your 650w bounced key at t2.9 surprised me. Unless you boosted brightness in post? Or maybe I'm just afraid of not giving light to f35 and should try using less light and trusting more the camera.
Grug
Veteran
Generally, we were living between T/2.9-T/4 (which I think is a sweet spot for DoF).
I can’t say I find it particularly hard or demanding to light to 400 ISO at T/2.9, it’s only a stop slower than 800 ISO. Night exteriors were the only times I found myself longing for fast T/1.5 glass, and that was only because we had a pretty modest lighting package.
SJX
Veteran
Maybe is just me playing it too safe? For any wider shot I need at least a 1k pointing directly at actor to get key with T2-T2.8 in F35. Bouncing 1k from wall or ceiling I have done only with DSLRs that see more in dark. Talking wider shots. OTS and singles is different.
