blooming highlights, what filter?
Posted 02 March 2009 - 06:46 PM
a month from now i will be shooting a scene in a strip club. in the scene the supporting character is tempted by the seductive nature of the underworld where he and his partner (main character) are meeting the crime boss. however i would also like to portray this scene with an eerie sense of distance and forboding unattainability.
for me these two qualities of temptation and exclusionary distance would be well told with what i can for lack of its true name, call 'blooming highlights'. robert richardson's work in casino and janusz kaminski's work in minority report both used hot rims, backlights and hot specular gleaming points in combination with a filter (my guess is some degree of a classic soft) to create these blooming highlights - which for me are eerily seductive.
1. does anyone know what filter might work well for this. if this is a classic soft, is there any reason why the black classic soft filter might be counter to achieving this effect?
2. i am having trouble understanding the ways that the lenses i have at my disposal are limiting what i can and can't do - especially when i am wanting to do what high budget features can. i have noticed that high quality lenses have a much kinder way of showing the range between darks and highlights. lower quality lenses seem to have trouble with highlights, often coming out more raw and unruly. being that minority report and casino play with such hot rims and specular points, can my superspeed primes facilitate and accommidate such a look?
my guess is i'm missing something here, i would greatly appreciate any gaps you guys can fill.
Posted 02 March 2009 - 07:04 PM
Posted 02 March 2009 - 07:15 PM
You see movies in the early 1980's using the Supafrost, like "The Natural".
In Tiffen's defense, I suspect many DP's asked them to make a glass version of the Supafrost, I assume, because Wilson didn't want to.
"Casino" used a ProMist. Most of "Minority Report" used a net filter. You can see the net pattern here:
Later on "War of the Worlds", Kaminski started using Classic Softs more often than the net.
Almost any diffusion works in terms of causing halation around overexposed areas in the frame.
Example of ProMist in "JFK":
Example of net in "War of the Worlds":
Example of Classic Soft in "War of the Worlds":
Posted 02 March 2009 - 07:27 PM
The equivalent flare in a BPM is a 2 to even begin with. I noticed that the Supafrost actually did a super bloom without completely drowning out the dark areas of frame. Either way it is a technique that involves much more then just a filter.. you need some HARD LIGHT... creating nuclear spot readings.
Posted 07 March 2009 - 04:56 PM
Posted 07 March 2009 - 08:25 PM
I believe the Supafrosts were made by spraying hair spray onto the acetate. Of course, that could be one of these urban myths, but it came from a good source.
Maybe some similar method was used, but it seems unlikely only because you'd have to then sandwich/seal the sprayed area with another layer of plastic, and if you've ever tried doing this yourself, as I have, it's very hard to create enough evenly-spaced clear gaps between the mist droplets... and because of this, the whole image just gets thrown out of focus. You have to create an incredibly light spray that is evenly dispersed to get a usable diffusion filter. I made one like this in an emergency once, took a lot of attempts.
Posted 08 March 2009 - 05:00 AM
Maybe some similar method was used, but it seems unlikely only because you'd have to then sandwich/seal the sprayed area with another layer of plastic,
On the Supafroasts the diffusion material appeared to be on the surface, rather than sandwiched. However, I suspect a more robust material than hair spray was used, although perhaps that might have been used in the playing around stages.
I expect they did a lot of testing with pressure and nozzle sizes to achieve some consistency. However, I heard that each set was slightly different.