Lift Gamma Gain - The Colorist & Color Grading Forum. Skintones - how to achieve this look?
Discussion in 'Looks' started by Malte Løkken, Apr 12, 2013. Malte Løkken Message Count: 18 Hello guys, I've been trying around with some skintones looks, and there's one look that I just can't seem to nail. In certain situations I think this "Redish shadows" look, is great for creating a mood, and I've seen it used many times in blockbuster movies. Do any of you know how to make this redish look in the skintones, like shown in these pictures? -are there any good techniques? Juan Melara, Apr 14, 2013 #5 Irfan Hakim, Stephen Hill, Doug Beatty and 4 others like this.
Share This Page Help Quick Links Useful Searches Recent Threads. And So it Begins...: My 11 Favorite Cinematographers. There’s nothing I don’t love or admire or respect or appreciate about the filmmaking process.
I’m fascinated by it all. If I was to crudely rank each part of the process strictly based on personal inspiration, then cinematography would rank extremely high for me. I’m a complete and utter film addict, there’s no question. And for me to try and articulate how completely taken I can be by a camera angle or tracking shot, or how inexplicably moved I can become based on lighting and shadows, would be to fail my loyal readers.
I simply can’t explain the full impact that cinematography has over me. Superb cinematography makes great films masterful, and bad films bearable. Roger Deakins If you’ve enjoyed the look of most any Coen brothers film since 1991, Roger Deakins is largely to thank. Take, for instance, the shot of Andy Dufresne walking into Shawshank State Penitentiary for the first time. Notable Credits Barton Fink (1991) The Shawshank Redemption (1994) Fargo (1996) The Hurricane (1999) A.I. Being a Director is More of a State of Mind Than a Profession. Lights Online Film School was recently lucky enough to be able to chat with director Tomek Goldbaum-Wlazinski about his music video “Melt” for KAMP.
Let’s start by watching his breathtaking music video below. Welcome Tomek! First of all, congratulations on an incredibly beautiful music video. Can you begin by telling us a little bit more about where the idea for this music video came from? I’ve always wanted make music videos. It seems like a big collaboration between a record label, a band, a mid sized cast, a entire synchronized swimming team and a group of filmmakers.
Well, I have to say that I had a lot of trust form KAMP! Non-representational music videos (music videos where the band doesn’t appear in them) are probably one of the least popular forms of music videos. I decided do it for a few reasons. Also the band’s presence just didn’t seem to fit in the synchronized swimming training concept. I have to admit that I do not like to improvise. What camera did you use for this project? How I Made My First Feature Film. Lights Online Film School recently had the opportunity to interview one of our newest students, Josh Beck, about his debut feature film entitled EVER.
You can watch the teaser trailer for the film and read our interview below. Hello Josh and thank you for talking with us about your first feature film. First of all, a huge congratulations on getting your film shot! As our blog readers know, your accomplishment is no small undertaking. Let’s start at the beginning with your story. This film is about a young woman who is suffering from depression in the worst possible way. A story about a girl, who loses a boy, but finds a girl. Where did you get the idea for the story? It all started when a friend of mine took me to the L.A. premier of the 2011 Sundance film Bellflower. I sat down in the living room with my roommate at the time, and we brainstormed on story ideas for hours. I’ve always been sort of a feminist in the most basic sense of the word. How long did the script take you to write? Using Color Temp to Create Depth and Dimension with your HD Video. I have been asked this question many times, “Do you white balance your camera?”
I respond with one word, “Never.” White balancing a video camera is a holdover from the days of Ikegami cameras, the tubes inside that would burn if you shot a bright light. AWB is your enemy. Period. When I shoot film, I use specific stocks that are either daylight or tungsten based to react to blue daylight color temp at 5500 Kelvin or 3200 Kelvin for tungsten. While working with one of my favorite directors, Maurice Marable, we were doing a spot in an underground parking garage. 2700 Kelvin on the Alexa to take something that looked ordinary at 5500 Kelvin because that was what AWB gave us. “Embrace Every Color You Can” In Hollywood, for decades we have “Hollywooded” every night scene on streets. Typical Cobra Head street lamps 2K Open Face Tungsten Light Then, all of a sudden, moonlight would show up in urban areas.
Night exteriors in Macon, GA on Need for Speed On location in Macon, GA for Need for Speed. Interview with Christophe Persoz, Director of The Endless Session. [iframe width="564" height="317" src=" width="564" height="317" frameborder="0"] Cinematographer Christophe Persoz is presenting here the trailer of his film called «The Endless Session ».
He directed and shot the film that it’s still under production and coming in fall 2011. I contacted him to get this interview where he tell us a little bit about the film and some of the challenges he faced during the shooting. Christophe used a RED ONE camera for some of the shots but he used primarily the CANON EOS 7D DSLR. Cameraman: To get started, Christophe, what was your role on The Endless Session? Christophe: Usually I’m a cinematographer, but this time I wanted to direct and shot this movie. Cameraman: How did you start down the path of creating this movie? Christophe: I think that the creation process is mainly the same for each director. I consider this movie between a documentary and a movie. Cameraman: What were some of the biggest challenges you faced when filming The Endless Session? DaVinci Resolve: Using Limiters.
A Look at SpeedGrade: Professional Color Grading within Adobe Creative Suite 6 » NYC Production & Post News. –This review is the first of a two-part series on Adobe SpeedGrade.
The release of the Production Premium version of Adobe Creative Suite 6 (CS6) last year contained a wealth of important new features in its various apps. I’ve already written an in-depth review of Premiere Pro that, in CS6, delivered on its promise of becoming a truly professional NLE. After Effects, a standard part of the toolkit for motion graphic artists and compositors everywhere, also had its fair share of important improvements, including a 3D motion tracker, ray tracing and enhanced caching.
However, there is an important and entirely new addition to the Creative Suite that I haven’t reviewed: Adobe’s pro color-grading solution SpeedGrade. It’s something I have been meaning to do for some time now, so let’s dive in. Filling in the Gaps The Production Premium version of Adobe’s Creative Suite remains unique in the world of motion media app collections. Accessing Media Coming from Premiere Making the Grade Have a Look. Filmmakers. Filmmaking isn’t rocket science, but sometimes they are kissing cousins.
Such is the case of the documentary Particle Fever, where the credentials of both producer David Kaplan and director Mark Levinson include a Doctorate in particle physics. Levinson has been involved in filmmaking for 28 years, starting after his graduation from Berkeley, when he found the job prospects for physics in a slump. Instead he turned to his second passion – films. Levinson worked as an ADR specialist on such films as The English Patient, The Talented Mr. Ripley, Cold Mountain, and The Rainmaker. When it came time to put the polish on his documentary, Mark Levinson tapped Walter Murch as the editor. Finding the story arc Particle Fever is the first feature-length documentary that Walter Murch has edited, although archival and documentary footage has been part of a number of his films.
Murch continued, “Our initial cut was two-and-a-half hours, which was ultimately reduced to 99 minutes. Mapping the sound. Behind the Scenes of Assassin's Creed. Group: News. One of the most celebrated indie debuts in years, BEASTS OF THE SOUTHERN WILD weaves a lyrical tale of a girl named Hushpuppy who must save her ailing father and defend her home in a bayou.
The auspicious premiere of BEASTS at this year's Sundance Film Festival had director Benh Zeitlin claiming the Grand Jury Prize and DP Ben Richardson with top cinematography honors, followed by the Camera d'Or at Cannes. Crafted together through dozens of grants (including the inaugural ARRI Sundance Feature Film Program Package supplied by ARRI CSC), the film showcases the power of what talented filmmakers can do on a grassroots level and that epic ideas are not limited only to large budgets. Says producer Josh Penn, "Getting the ARRI Sundance grant made it possible for us to make the film.
It made a huge difference and was the push we needed to make it happen. " BEASTS OF THE SOUTHERN WILD was ambitious from the outset. BEASTS OF THE SOUTHERN WILD - Trailer -- An Tran. Digitalfilms « a blog by Oliver Peters. Making of Beasts of the Southern Wild - Part I. A place for independent filmmakers to get real world advice. Digital Filmmaking, Animation, Motion Graphics, Design, Film, Visual Effects and Experimental Moving Image Storytelling. The Art of Getting Paid. Tutorials. Creating a Project In this Lightworks 11.5 tutorial, the first in a ten part series, you'll learn to how to choose project settings and setup your project including how to change the output format. 10-part series produced by Peter Bridgman, updated to version 11.5 by Iain Churchill-Coleman.
Footage supplied by Robert Rif - Importing Media Files In this Lightworks 11.5 tutorial, the second in a ten part series, you'll learn to how to get your video/sound media into Lightworks ready for editing using the two methods available, Import and Batch Import. Organising Your Project In this Lightworks 11.5 tutorial, the third in a ten part series, you'll learn to how to utiltise the functionality of the Lightworks Bins and Racks and we'll discuss different ways of displaying and managing the contents of your project.
Searching in the Project Playing Media Basic Editing Trimming on the Timeline Simple Transitions Working with Audio Exporting Your Work Installation & Activation Bins & Racks Bins 5: List View. Fincher Film School: Paint It Black. PDF Download David Fincher has been labelled all variations of a 'prince of darkness'. Perhaps rightfully so, as his movies mostly are crafted with a signature color palette of dark tones, mostly green and blue. Beyond aesthetics, why does Fincher shoot his movies this way? Because it looks cool? Or is there an additional layer of meaning to the colors in his films? Fincherfanatic.com is proud and grateful to bring you the second installment of the newly launched Fincher Film School, with compliments to contributor Juan Hernandez.
Please do share your thoughts, observations and your feedback. Paint It Black: A Look at David Fincher's Color Palette by Juan Hernandez. The 22 rules of storytelling, according to Pixar. I was going for the polar opposite of Hercules, taking every descriptor and looking for its opposite. But yes, I guess monster would work. Bit cliche, though, innit? It's what people expect, what with Hercules having fought all the monsters. The reason I ask is because I'm writing something with a Herculean character... except she's actually a girl (was tired of guy heroes all of the times forever); in this case, since I'm thinking the opposite of descriptors, "weak guy" is what came to mind, and I really couldn't think of a way in which any opposite of Hercules would be a compelling person.
Having her encounter a strong man (Hera/Hippolyta) simply wouldn't be interesting. I've already got certain types of odd characters to mess with, including a king felled by his own hubris (because aww yeah dat hubris, son) whose folly got his son turned into a monster, but I was thinking... straight-up opposite. The impulsiveness, though... that would work quite well. Good post. A place to talk about visual tampering. What follows is an interview I did for a student named Jahnavi who approached me via email. I thought I would share it with you: ————- First off I have to say I am very impressed by the questions you asked. I get asked to do this sort of thing a couple times a year by various students and by far your set of questions are the best.
Very well thought out and I am excited to answer them. 1) Have you edited on both film, and digital? If yes, do you feel digital technology has changed editing? Yes I have edited on film and digital. 2) When choosing which shot goes where, are your choices instinctive or is each move carefully pre-planned? A little of both. 3) What would you say your editing style is? I really don’t know. 4) What’s the ideal relationship between editor and director?
One of collaboration. 5) When you assemble your first cut, do you follow the script closely, or go by what the footage has to offer? Getting better at editing is something that comes with time. There you have it. Hurlbut Visuals. Lilith. An Abandoned Country Estate in Yonkers & Scouting NY. Note: I DO NOT KNOW ANYTHING ABOUT ALDER MANOR AND WEDDINGS!! I’ve tried to figure it out, but the person in charge of weddings has never called me back, and it remains a complete mystery. I receive emails daily complaining about a lack of response for weddings, and I just don’t understand the situation. Very sorry! It sits on a hill just outside of New York City, completely empty and, for years, decaying and nearly forgotten… This is Alder Manor, and it’s without question one of the most amazing places I’ve ever had the pleasure of scouting. After both he and his wife died, the mansion was traded between owners who had no use for it and eventually wound up abandoned.
When you first enter, you find yourself in the enormous Main Hall, with the huge grand staircase off to one side. Reverse of the main hall. Which leads to the incredible library: Standing in the reverse corner, with a great stone fireplace and working chandeliers. A painting over the fireplace is still in excellent shape: A Media Manager Has Your Back. In the world of HDSLR technology, media management is a very important position. Every Elite Team member has held this position at some point during the untitled Navy Seal Movie to gain an understanding of HD image capture in a small footprint work-flow system and they all have jumped in head first! The unique skill set that my Elite Team brings is that they all have a film background and are comfortable with certain rituals that accompany being a motion picture film loader and 2nd assistant cameraman.
These include: managing the truck; keeping track of the gear and specialty pieces of equipment; creating an inventory and log; assessing how many magazines you have to load and color coding it according to the stock; labeling the magazines with the date, job, film stock and amount loaded on the magazine itself; and writing a camera report with the same information. MacBook Pro We shoot 10 to 15 minutes on a 8GB card. Card Reader with 8GB Card 2 of 4 Hard Drives How do you manage media? Who is Martin de Thurah » Flux - A global creative community celebrating film, art, music and design. Detour Filmproduction.
Mario Feil Films. Garrett O'Brien Visuals » The Hobbit and The EPIC. Nino Film - Blog - Nino Leitner - DSLR video, filmmaking & more. Nino Film - Blog - Nino Leitner - DSLR video, filmmaking & more. Tej Babra. Martin Scorsese's Film School: The 85 Films You Need To See To Know Anything About Film. Davidbordwell.net : home. Ikonoskop. American Cinematographer: Cosmic Questions. High Definition for PC. Prolost - Blog. 7 Tips for HD Color Correction and DSLR Color Correction. Darren Aronofsky. ALL THINGS SHINING. Writing on the art of film & film as art. New Wave Films - Welcome.