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some frames from my latest project


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#1 Bruce Greene

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Posted 05 December 2018 - 02:22 PM

I've just completed color correction on our latest film...  I thought I'd  post a few frames :

Professor's office

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#2 Bruce Greene

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Posted 05 December 2018 - 02:26 PM

Japanese award ceremony

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#3 Bruce Greene

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Posted 05 December 2018 - 02:31 PM

I should add:

Arri Alexa Mini

Cooke anamorphic lenses

 

 

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#4 Mark Kenfield

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Posted 06 December 2018 - 01:53 AM

Gorgeous frames Bruce! I looooove that restaurant one!
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#5 Miguel Angel

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Posted 06 December 2018 - 06:16 AM

Wonderful images Bruce!!! 

 

Congratulations!!! :)


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#6 Robin R Probyn

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Posted 06 December 2018 - 06:36 AM

Lovely shots sir 


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#7 Daniel D. Teoli Jr.

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Posted 06 December 2018 - 09:21 AM

Nice dramatic lighting... Excellent Work!!

 

How much lighting went into the restaurant scene? 

 

Post some photos of the whole set if possible to see the lighting setups. 

 

Always like seeing what goes into a set.


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#8 Bruce Greene

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Posted 06 December 2018 - 01:30 PM

 

Nice dramatic lighting... Excellent Work!!

 

How much lighting went into the restaurant scene? 

 

Post some photos of the whole set if possible to see the lighting setups. 

 

Always like seeing what goes into a set.

 

Thanks for the kind words everyone!!!

 

I'll try to answer some of the lighting questions...

 

The restaurant scene was lit with 3 movie lamps.  One little bounce off the ceiling, one LED lamp on a boom to backlight the actress, and one little LED lamp to add a touch to their faces.  This scene probably took about 15 minutes to light, with building the boom taking most of that time.  I had asked the art department for as many practical light sources as possible for the room (which is not really a restaurant) and, I asked for the lamps on the tables.  After adding the little bit of smoke, the scene seemed almost lit without any movie lights at all.  All the table lamps were on dimmers, and the hero table lamp is dimmed down more so that it doesn't light the actors too much.  This light was then replaced by the LED lamp which could be set at a better angle.

 

The sunset shot in the office is lit with 3 tungsten lamps. A 5k outside the window (which is in frame actually) as the "sun", and above the window inside are two 650w fresnel lamps to further light the actors when they move to other parts of the room.  The actual clip pans to the left to show the other side of the room.  The camera was set to 9000k for the white balance as well.  There was probably a small white card as "fill" as well, but I might have decided not to use it.  Can't remember.

 

The Japanese ceremony was shot in a university auditorium which had no real lighting in it.  Since this was to be a big lighting setup, and we didn't have much time or crew, I asked the producers to hire a theatrical lighting company to come in and rig remote controlled concert lighting in the theater.  We came in and added just a few little movie lights and worked with the lighting board operator to get this look.

 

When I have time, I'll try to find some images that I also have some behind the scenes photos to show the lighting setup.  Unfortunately I found little time to shoot behind the scenes photos myself.  It was just too intense a schedule for me to have time to do that!  Maybe I'll try to make a before and after of a visual effects shot as well...


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#9 Bruce Greene

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Posted 08 December 2018 - 08:48 PM

some movie magic...  This is part of one continuous technocrane shot that flies over a conference table and out the window over the city below...

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#10 Bruce Greene

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Posted 08 December 2018 - 08:55 PM

The ending frame and first frame full  composite

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#11 Bruce Greene

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Posted 08 December 2018 - 09:18 PM

The only shot I have behind the scenes photos of the camera set up and the lighting set up.  

 

This scene was scheduled to begin shooting at noon, and shooting would last well into the darkness outside.  So we used 18k and 6k HMI lamps on lifts for all the windows in the room.  I think we had 4 or more lifts and at least 4 18k HMI lamps...

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#12 Bruce Greene

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Posted 12 December 2018 - 09:24 PM

A couple more...

 

The operating room scene was quite a challenge as all the walls were made of reflective glass, and no lamps could be attached to the ceiling.  This frame is from the middle of a lighting change and you can see that we solved this issue by placing dedo lights right in the frame (mounted on the stands for intravenous meds :)  My gaffer also suggested placing kino flow bulbs on the floor which also helped tremendously...

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#13 Gerald King

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Posted 13 December 2018 - 11:59 AM


 

A couple more...

 

The operating room scene was quite a challenge as all the walls were made of reflective glass, and no lamps could be attached to the ceiling.  This frame is from the middle of a lighting change and you can see that we solved this issue by placing dedo lights right in the frame (mounted on the stands for intravenous meds  :)  My gaffer also suggested placing kino flow bulbs on the floor which also helped tremendously...

 

Is the bottom image with the Black magic filter?


Edited by Gerald King, 13 December 2018 - 12:06 PM.

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#14 Bruce Greene

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Posted 13 December 2018 - 01:11 PM

What is a Black magic filter? I did use a black promise filter on the camera. Probably 1/4.

What is it about the image that makes you ask about filters? Just curious :)
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#15 Tyler Purcell

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Posted 13 December 2018 - 04:19 PM

Nice stuff Bruce! Looks great! :)
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#16 Bruce Greene

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Posted 13 December 2018 - 04:36 PM

Nice stuff Bruce! Looks great! :)

Thanks Tyler!!!


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#17 Mark Kenfield

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Posted 13 December 2018 - 09:19 PM

post-4387-0-06091700-1544667681.jpg

Love this one Bruce! Would love to hear how you achieved it.

Is it just a cool top light, a warm back edge, and some really subtle fill on the front? I love the feel of complexity to it.


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#18 Bruce Greene

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Posted 14 December 2018 - 03:05 PM

Love this one Bruce! Would love to hear how you achieved it.

Is it just a cool top light, a warm back edge, and some really subtle fill on the front? I love the feel of complexity to it.

Thanks Mark!

 

Here's a wider shot from a moment earlier in the scene.

 

We shot this in the daytime with all the windows blacked out, so we could not light through any of the windows.  But, our heroes are sneaking into this house at night, naked, from the events previously :)  To fake some moonlight coming through the windows we used some "source 4" ellipsoidal theater lamps.  My lighting crew cut slits into blackwrap and inserted these into the slot in the lamps to project the "Venetian Blinds" effect on the scene. You can clearly see this in the background here, but there is also a source 4 on the second floor aimed down at them.  This is the interesting back light on the previous frame above.  We "cheated" a bit with the amount of moonlight coming from above because the owner of this house is about to enter.  It's more funny if our heroes are in danger of being caught, and if they are in too deep a shadow, there is less danger, and fewer laughs. There is also a lighting change later in this shot when the home owner comes in drunk and turns on the lights...

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#19 Albion Hockney

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Posted 14 December 2018 - 04:31 PM

There Is an almost yellowish tone from right on his face in the close up - Is that just from the lens of the Source 4 then? There is an interesting complexity to the color and reflections from his skin tone - I think that is part of what Mark was eluding to.

 

Would you be able to give a rough idea of where the lights are placed for the close up?


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#20 Bruce Greene

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Posted 14 December 2018 - 04:57 PM

There Is an almost yellowish tone from right on his face in the close up - Is that just from the lens of the Source 4 then? There is an interesting complexity to the color and reflections from his skin tone - I think that is part of what Mark was eluding to.

 

Would you be able to give a rough idea of where the lights are placed for the close up?

Yes, the yellowish tone is from the source 4 lens.  Good eye Albion!

 

Looking at the closeup, I think it's almost all the back/top light source 4 from the 2nd floor plus one additional lamp or white card that you can see reflected in the actor's eyes.  I think that's it!  Plus the light bouncing around the set.


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