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Lighting setup for this film


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#41 Giacomo Girolamo

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Posted 09 November 2018 - 10:08 AM

Congratulations for the amazing location you get. Hope the short go well Tiago!

 

The female talent is natural red hair or tint, because the real gingers has a "transparent" hair, but the girls with dye hair have "black hair paint on red". It's kinda difficult to explain, I can't find the proper words, but what I mean is beware when you backlight the talent, because if is a real ginger, some angles just blow their hair making and halo of light. A nice effect but distracting and I suppose something you don't want in this narrative work.

 

 

Hope you could understand what I mean, always looking forward to watch your amazing work,

 

best of lucks!


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#42 Tiago Pimentel

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Posted 10 November 2018 - 02:18 PM

Thanks for the heads up Giacomo! Actually, her hair is tinted, she is a natural brunette.

 

I was looking at the pictures I took from the room and I think I'll need to get some diffusion on the lamps to attenuate a bit of the effect on the walls. Do you guys usually use a stronger diffusion on top than on the bottom part of the shade?

 

Thanks


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#43 David Mullen ASC

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Posted 10 November 2018 - 03:03 PM

The size of the LED affects its softness so you might need to put it through a diffusion frame or bounce it.
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#44 Tiago Pimentel

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Posted 14 November 2018 - 11:56 AM

Guys, just two more questions concerning the Alexa XT (camera that I'll be using for this shoot):

 

1 - for monitoring, do you simply use the REC709 viewing that comes with the camera?

 

2 - Not sure how's the IR pollution of the Alexa, but better to use IRNDs instead of simple NDs, right?

 

Thanks


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#45 Stuart Brereton

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Posted 14 November 2018 - 01:56 PM

Guys, just two more questions concerning the Alexa XT (camera that I'll be using for this shoot):

 

1 - for monitoring, do you simply use the REC709 viewing that comes with the camera?

 

2 - Not sure how's the IR pollution of the Alexa, but better to use IRNDs instead of simple NDs, right?

 

Thanks

The standard REC709 LUT that comes with the camera looks great, just make sure you carry it through into post production.

 

If you're shooting night interior with tungsten and LED, you shouldn't really need any NDs at all. IR pollution is really only an issue when using heavy NDs (greater than 0.9), which is usually in DAY/EXT situations. Newer cameras suffer much less with IR than older models do.


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#46 Tiago Pimentel

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Posted 14 November 2018 - 03:31 PM

Hey Stuart! I want to shoot at a low T stop. I'll be using the master primes, so I'll probably want to shoot at T1.3 to keep a very shallow dof and accentuate the soft light look. To do that, I'll probably have to use at least a .6 ND. I was thinking of taking a set of IRNDs anyway. Shouldn't be a problem to use them instead of classic nds, right?

Thanks!
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#47 Stuart Brereton

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Posted 14 November 2018 - 04:39 PM

It won't hurt to have IRNDs rather than regular NDs. IR contamination doesn't generally start to happen below ND 0.9, and like I said, newer cameras like the XT are much less prone to it anyway. You could also try setting the camera at 400ISO. You'll get an extra stop of latitude in the shadows, and need less ND as well.


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#48 Tiago Pimentel

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Posted 14 November 2018 - 05:13 PM

Stuart, that was actually something on my mind. Have you ever rated the Alexa at iso400? Theoretically it should give some very clean shadows, so I'm interested in that. Never done it myself, though.

Edited by Tiago Pimentel, 14 November 2018 - 05:15 PM.

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#49 Stuart Brereton

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Posted 14 November 2018 - 05:34 PM

I usually rate it at 800 ISO, but there are many people who prefer the cleaner shadows at 400. You'll lose a stop of highlight latitude, but that may not even be noticeable if your scene is relatively low key.


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#50 Tiago Pimentel

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Posted 14 November 2018 - 06:08 PM

Thanks Stuart. Do you know if the REC709 monitoring in Alexa is similar (or the same) as the Arri Log C to 709 LUT that comes with Resolve?

 

Thanks


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#51 Bruce Greene

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Posted 14 November 2018 - 06:26 PM

Thanks Stuart. Do you know if the REC709 monitoring in Alexa is similar (or the same) as the Arri Log C to 709 LUT that comes with Resolve?

 

Thanks

It is quite similar, but I don't know if it is exactly the same.

 

As for IR, up to ND .9 I wouldn't worry about it.  Unless you are blacking out windows to shoot in daytime.  If you do, it is possible to see IR exposure through the blacks.  I have had to place an IR filter, without ND, on the camera to solve this a couple of times.  I think it was using a RED camera, so I'm not sure if this issue will be as bad with an Alexa.  But, it's possible.


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#52 Stuart Brereton

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Posted 14 November 2018 - 06:52 PM

Do you know if the REC709 monitoring in Alexa is similar (or the same) as the Arri Log C to 709 LUT that comes with Resolve?

I would imagine that it is, but you may want to have the post facility download the latest version of the LUT from the Arri website.


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#53 Tiago Pimentel

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Posted 15 November 2018 - 04:28 AM

It is quite similar, but I don't know if it is exactly the same.
 
As for IR, up to ND .9 I wouldn't worry about it.  Unless you are blacking out windows to shoot in daytime.  If you do, it is possible to see IR exposure through the blacks.  I have had to place an IR filter, without ND, on the camera to solve this a couple of times.  I think it was using a RED camera, so I'm not sure if this issue will be as bad with an Alexa.  But, it's possible.


Yeah, we'll definitely block the windows to shoot during daytime. Can this actually cause IR contamination? I'll take an IR cut filter and put it in all the time. Won't hurt to use it...

Thanks
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#54 Bruce Greene

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Posted 15 November 2018 - 11:25 AM

Yeah, we'll definitely block the windows to shoot during daytime. Can this actually cause IR contamination? I'll take an IR cut filter and put it in all the time. Won't hurt to use it...

Thanks

Don't use the IR cut filter unless you need it.  Often they alter the color in a not good way.  But have one on hand for the event that your black windows show light, but only in the camera and not to your eye.


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#55 Tiago Pimentel

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Posted 19 November 2018 - 05:16 PM

Thank you all for some great input. Most of the production is over and I was looking at some of the stills. These are just log to rec709 factory LUT.

 

 

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Edited by Tiago Pimentel, 19 November 2018 - 05:23 PM.

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#56 Giacomo Girolamo

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Posted 20 November 2018 - 10:10 AM

Looks A MA ZING!

 

The walls works not only with the female talent hair, but with his eyes too.

Hope to watch more about it.


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#57 Tiago Pimentel

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Posted 23 November 2018 - 11:32 AM

Thanks Giacomo. I am very happy with what we shot!

 

I have a question for this forum, especially those of you who already worked with Alexa footage in post. Do you use the Arri LUT generator to bring the footage to 709 or do you grade from scratch in the raw tab and do the secondaries in nodes? I read somewhere (I think it was Arri website) that Alexa footage (LOG-C of course) should be used in conjunction with one of their LUTs, because it's the only way to uncover their color science. I've tried different LUTs from their website (including the one in Resolve) and they all look the same to me. Any thoughts?

 

Thanks!


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#58 Stuart Brereton

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Posted 23 November 2018 - 11:55 AM

I always use the Arri 709  LUT as a starting point, and then make adjustments on another node in Resolve. Occasionally, I've had colorists who prefer to work from scratch, but it always takes longer, and sometimes they have problems with dealing with difficult areas like hot highlights.


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#59 Bruce Greene

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Posted 23 November 2018 - 06:36 PM

If you've recorded Arri LogC, then yes, use either the ARRI LUT, or the LUT in resolve (if you're using resolve), or the Arri LogC / REC 709 transform in Resolve.  The LUT contains the color matrix conversion that you need to use the ARRI color science.  If you just "turn the knobs" without it, you'll find some strange color science.  Maybe you'll like it, but, probably not.


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#60 Zahi Farah

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Posted 12 December 2018 - 05:29 PM

What a wonderfully informative post this has been to read through! Would be great to see how the shots turned out following post work.

 

Great planning and production shots!


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