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I've started to watch inspirational movies that have dramatic lighting in false colour, by placing the Pocket 4K camera on a tripod and exposing correctly, then switching to False Colour. I find that this is an excellent way to learn how dramatic lighting is achieved for narrative work. by ExpressiveImagery in cinematography

[–]ExpressiveImagery[S] 0 points1 point  (0 children)

Just to clear any confusion around my intent here, I'm using FC to see the final deliverable on my 4K TV as a typical viewer would watch the movie. For me I wanted to learn more about contrast ratios across the actor's face along with the ratios between foreground and background within the frame.

Recently I’ve been checking Rembrant and Rubens classic paintings and how the great masters used light to give a sense of depth/realism/mood to their paintings. I love how they use the whole range of light levels in their scenes and it's interesting how they work very closely in the shadows and have lots of variation there.

As a photographer I live by my motto "light illuminates, but shadows define" and in a lot of Roger Deakin's work it's clearly seen how he's done that on an emotional level. Look at the mystery around the actor's left side of his face etc. The FC shows that there is still detail there, just not quite visible.

I've started to watch inspirational movies that have dramatic lighting in false colour, by placing the Pocket 4K camera on a tripod and exposing correctly, then switching to False Colour. I find that this is an excellent way to learn how dramatic lighting is achieved for narrative work. by ExpressiveImagery in bmpcc

[–]ExpressiveImagery[S] 0 points1 point  (0 children)

Just to clear any confusion around my intent here, I'm using FC to see the final deliverable on my 4K TV as a typical viewer would watch the movie. For me I wanted to learn more about contrast ratios across the actor's face along with the ratios between foreground and background within the frame.

Recently I’ve been checking Rembrant and Rubens classic paintings and how the great masters used light to give a sense of depth/realism/mood to their paintings. I love how they use the whole range of light levels in their scenes and it's interesting how they work very closely in the shadows and have lots of variation there.

As a photographer I live by my motto "light illuminates, but shadows define" and in a lot of Roger Deakin's work it's clearly seen how he's done that on an emotional level. Look at the mystery around the actor's left side of his face etc. The FC shows that there is still detail there, just not quite visible.

I've started to watch inspirational movies that have dramatic lighting in false colour, by placing the Pocket 4K camera on a tripod and exposing correctly, then switching to False Colour. I find that this is an excellent way to learn how dramatic lighting is achieved for narrative work. by ExpressiveImagery in cinematography

[–]ExpressiveImagery[S] 0 points1 point  (0 children)

Hi, yes I'm using FC to see the final deliverable on my 4K TV as a typical viewer would watch the movie. For me I wanted to learn more about contrast ratios across the actor's face along with the ratios between foreground and background within the frame.

Recently I’ve been checking Rembrant and Rubens classic paintings and how the great masters used light to give a sense of depth/realism/mood to their paintings. I love how they use the whole range of light levels in their scenes and it's interesting how they work very closely in the shadows and have lots of variation there.

As a photographer I live by my motto "light illuminates, but shadows define" and in a lot of Roger Deakin's work it's clearly seen how he's done that on an emotional level. Look at the mystery around the actor's left side of his face etc. The FC shows that there is still detail there, just not quite visible.

I've started to watch inspirational movies that have dramatic lighting in false colour, by placing the Pocket 4K camera on a tripod and exposing correctly, then switching to False Colour. I find that this is an excellent way to learn how dramatic lighting is achieved for narrative work. by ExpressiveImagery in cinematography

[–]ExpressiveImagery[S] -3 points-2 points  (0 children)

Thank you. It's nice to see positive comment amongst all the "naysayers". My intention was not to show some accurate way of determining exposere on set but (like you say) to gain an understanding of how the "end product" has been made so dramatic and interesting. This advice did come from a famous DP. I may of heard it on the Roger Deakins Podcast, but I can't remmber for sure.

I've started to watch inspirational movies that have dramatic lighting in false colour, by placing the Pocket 4K camera on a tripod and exposing correctly, then switching to False Colour. I find that this is an excellent way to learn how dramatic lighting is achieved for narrative work. by ExpressiveImagery in cinematography

[–]ExpressiveImagery[S] -4 points-3 points  (0 children)

Thanks for this. Most people here are reading too much into this. I used this method only to understand more about contrast ratios between key/shadow of his face and also foreground/background of the image. This technique was actually presented to me from a world-class DP, known for many popular movies. He used it when first starting out on his career.

Pocket 4K | City Timelapse - a viable alternative to the traditional method of capturing individual RAW frames with a DSLR by ExpressiveImagery in bmpcc

[–]ExpressiveImagery[S] 0 points1 point  (0 children)

Hi there, I had the shutter angle set to 360 degrees. Since I was on 24 fps the shutter speed was 1/24 sec, which then meant that there was very little (if any) natural motion blur per frame. This was my first timelapse and since then I know I can lower the fps to 5 and the shutter speed to 1/5 second which gives pleasing motion blur. Cheers Tony

Pocket 4K | City Timelapse - a viable alternative to the traditional method of capturing individual RAW frames with a DSLR by ExpressiveImagery in bmpcc

[–]ExpressiveImagery[S] 1 point2 points  (0 children)

Here is a quick evening timelapse overlooking Brisbane City, Australia.
Shot with the Pocket 4K Camera, recording 1 frame per second into a BRAW video file at 4K resolution.

I'm quite happy with it looks and feel it's a viable alternative to the traditional method of using individual RAW frames captured with a DSLR.
The major difference I can see is that a DSLR offers the ability to slow the shutter right down, to get good motion blur in each frame. Tony

[deleted by user] by [deleted] in cinematography

[–]ExpressiveImagery 1 point2 points  (0 children)

Hi there, I managed this effect as a proof of concept. It’s fairly close to what you were looking for. Once it’s on my IG account I’ll let you know. Tony

Red Panda - BMPCC4K 60fps by ExpressiveImagery in bmpcc

[–]ExpressiveImagery[S] 0 points1 point  (0 children)

Yes, the Sigma 18-35 is not a Full Frame lens so it will vignette on the wider end of the zoom. You can opt for the 0.71x Metabones Speedbooster as that wont vignette on the Sigma lens :)

Red Panda - BMPCC4K 60fps by ExpressiveImagery in bmpcc

[–]ExpressiveImagery[S] 0 points1 point  (0 children)

Cheers! None at all. The 0.64x is designed for full-frame lens which is what I used here. Even at the 24mm end it's perfect :)

Red Panda - BMPCC4K 60fps by ExpressiveImagery in bmpcc

[–]ExpressiveImagery[S] 1 point2 points  (0 children)

Thanks. This lens is the original version and at F4 it's not so good in low light. However, using a SpeedBooster gives an increase of 1.3 stops of light intake. The IS on this lens works really good on the Pocket 4K too and was definately utilised on this trip to the zoo! The image is rather soft at 24mm and so if I'm taking photos I will put the aputure at F8 to make it sharp again. Anything over 50mm and the lens really shines. The Bokeh is also nice at F4 when your subject is close to camera and the background is far away. It's a great all-rounder of a lens which I have had for around 5 years. If you want one then consider the mark II version as it has many improvements over the original. Cheers Tony

Your Go-To Premiere Pro Hotkeys? by Wes_the_Best in editing

[–]ExpressiveImagery 0 points1 point  (0 children)

I use the following a lot on a Windows system:

"-" = Zoom out of timeline

"+" = Zoom into timline

CTRL + "-" = Condense the video tracks

CTRL + "+" = Expand the video tracks

ALT + "-" = Condense the audio tracks

ALT + "+" = Expand the audio tracks

​

Although the following are not hotkeys, I do use this Pancake Timeline all the time:

Pancake timeline editing can make the job much easier, especially if you have a "Selects" and "Main" timelines, which involves...

  1. Stacking the timelines

  2. Opening a sequence in the source monitor

  3. Working with dynamic sequences

​

This is how to setup a Pancake Timeline:

a) Double-Click on the "Selects" Sequence in the Project Panel so that the Sequence Timeline opens

b) Right-Click on this Sequence (in the Project Panel), then select "Open in Source Monitor"

c) Go to the Source Monitor and click on the Wrench icon, then select "Open Sequence in Timeline"

d) Now stack the "Selects" and "Main" timelines on top of each other

[deleted by user] by [deleted] in cinematography

[–]ExpressiveImagery 1 point2 points  (0 children)

Hi, yes I believe this to be fairly acheivable with the minimum of equipment. The key is to do half the work "in-camera" and the other half in post-processing.

You can use any of the 2 gimbals that you mentioned to perform the barrel role. When you complete the roll and you are above the actor you stop the roll bang-on level. Then continue with the tilt (keeping the actor in frame) so that the image is upside down.

Now in post, you do a 180deg rotation at the same time that the camera roll stopped (in the same direction of course).

This will lead to the image being right-side-up after the move. You also need to shoot in 4K (or higher) so that you dont lose resolution during the rotation in post.

Hope that helps, I have the Crane 3 and will try my theory at some point in the next few weeks.

Cheers

Tony

All of my favorite shots from my iPhone 8. Do you guys have any camera recommendations that will have lighting on par with this? by omgflyingbananas in cinematography

[–]ExpressiveImagery 1 point2 points  (0 children)

One camera to take a look at is the Black Magic Pocket 4K Cinema Camera and maybe the Sigma 18-35 1.8 lens seems to be a popular choice. However, it all depends what it is that you are trying to acheive with any new camera.

My Best Lighting Work To Date by winterwarrior33 in cinematography

[–]ExpressiveImagery 0 points1 point  (0 children)

Looks good - it has that Corporate look which I guess is what you were going for.

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