|
|||||||||
![]() |
|
Thread Tools | Search this Thread |
![]() |
#91 | |
Trustee
Join Date: Apr 2005
Location: Santa Cruz, CA
Posts: 1,116
|
Quote:
|
|
![]() |
![]() |
![]() |
#92 | ||
Trustee
Join Date: Apr 2005
Location: Santa Cruz, CA
Posts: 1,116
|
Quote:
Quote:
Take care. |
||
![]() |
![]() |
![]() |
#93 |
Major Player
Join Date: Oct 2005
Posts: 232
|
@ Paolo
I used your TcV3 in a short film I made this year. Worked really nice. Credited you in the film.
Cheers, Jon Jaschob http://www.fotgfilms.com/OnceUponATimeInTheCampsite |
![]() |
![]() |
![]() |
#94 |
Trustee
Join Date: Apr 2005
Location: Santa Cruz, CA
Posts: 1,116
|
Thank you Jon.
|
![]() |
![]() |
![]() |
#95 |
Regular Crew
Join Date: Mar 2006
Location: Los Angeles, CA
Posts: 33
|
Stephen Noe's - Zipped .SCN Files
Is anybody else having trouble downloading the zipped .scn files for "dark interior"?
Best, Tommy |
![]() |
![]() |
![]() |
#96 | ||
Obstreperous Rex
|
Quote:
Quote:
|
||
![]() |
![]() |
![]() |
#97 |
Major Player
Join Date: Aug 2006
Location: Manchester, UK
Posts: 755
|
Christopher Doyle
I've read a few interviews with the Austrailian/Asian cinematographer Christopher Doyle recently (having watched a batch of the excellent films he's been involved with).
On 'The days of being wild' (Wong Kar-Wai) he talked of using 4/5 filters for certain scenes. Would this kind of technique be necessary with the HD digital video camera's? I can see why we would use ND filters etc but having scene file manipulation within such camera's would this still be relevant? Part of the reason I've posted this is because I want to try and achieve a similar look to his films...that green hue but with 'violent' reds: The film 'Dumpling' is a good example (the colours to me appear to be a more aggressive 'Amelie' setting) http://www.filmmakermagazine.com/fal...ges/doyle1.jpg 2046 another example: http://filmbrain.typepad.com/filmbra...s/2046_wkw.jpg Slightly off the topic...I've recently used Paulo's tru colour 3 setting for a corporate video - this worked really well (thanks Paulo). Mostly shot as exteriors - if I were to carry on shooting for the same project but indoors (in say a darker exterior) would I need to make any alterations to this setting...use another setting perhaps (but still matching the 'look' of the exterior shots)? Cheers. |
![]() |
![]() |
![]() |
#98 |
Trustee
Join Date: Apr 2005
Posts: 1,269
|
I have a question about Paolo's True Colour settings. Does V3 render V2 totally obsolete or there are still situations where V2 or even V1 would be recommended over V3?
Does V2 have a wider dynamic range or something? Would any of them be recommended to shot a low key lit with lots of shadows night shoot show? |
![]() |
![]() |
![]() |
#99 |
Regular Crew
Join Date: Mar 2007
Location: Istanbul
Posts: 31
|
Why do we use these scene files? Can't we have these effects in post with After Effects or something?
|
![]() |
![]() |
![]() |
#100 | |
Wrangler
Join Date: Aug 2005
Location: Toronto, ON, Canada
Posts: 3,637
|
Quote:
If you are capturing with an uncompressed card, then definitely attempt to optimize the maximum latitude possible for your scene and manipulate the image in post.
__________________
Tim Dashwood |
|
![]() |
![]() |
![]() |
#101 | |
Trustee
Join Date: Apr 2005
Location: Santa Cruz, CA
Posts: 1,116
|
Quote:
|
|
![]() |
![]() |
![]() |
#102 | |
Trustee
Join Date: Apr 2005
Location: Santa Cruz, CA
Posts: 1,116
|
Quote:
I am against using "camera looks" with digital cameras except in specific cases, the use of a scene file is meant, in my workflow, as a tool to keep the camera calibrated to the widest latitude and to the most neutral settings. If you think that that would be the default from the factory, well,m think again :) DSC made a whole business based on the fact that cameras usually come out of the factory un-calibrated. |
|
![]() |
![]() |
![]() |
#103 | |||
Trustee
Join Date: Apr 2005
Posts: 1,269
|
Quote:
Quote:
Quote:
About capturing uncompressed, judging by Taylor’s experiences posted on this boards and his ShowReel article, it seems in the case of the HD100 and the component out, there isn’t much advantage in capturing uncompressed really. Maybe with the HD250 and SDI, but with the analog component doesn’t seem to be worth the trouble or expense. The results Taylor got in post when manipulating the HDV signal was amazing. I don't remember exactly now, but I think Taylor even used TrueColor, didn't he? |
|||
![]() |
![]() |
![]() |
#104 | |||
Trustee
Join Date: Apr 2005
Location: Santa Cruz, CA
Posts: 1,116
|
Quote:
camera can give you. When you bring that signal inside your compositing/NLE suite you can use the massive processing power and precision of modern computers to do the kind of manipulation that you need and you have the advantage of the "Undo" function. Also, things like stacking copies of the same clip using the blend mode are not achievable in camera. Quote:
Quote:
|
|||
![]() |
![]() |
![]() |
#105 |
Trustee
Join Date: Apr 2005
Posts: 1,269
|
|
![]() |
![]() |
![]() |
| ||||||
|
|