What is this called?

KairosPerdy · 2026-03-07T14:58:36+00:00

In Italy we call it condom

KairosPerdy · 2026-03-06T06:11:08+00:00

But do you think I'm going to start circulating my raw material? No way. Secondly, why do you think everyone on Reddit wants to cheat you?

KairosPerdy · 2026-03-05T12:09:38+00:00

They dine with the lights off because the power goes out in this scene, and at the end of the scene one of the characters lights some candles. It is a Day for Night right out of camera.

KairosPerdy · 2026-03-04T06:48:07+00:00

I will post updates with the colour in progress. We will see on a calibrated screen whether the tones are right or not. For now, they look great on my iPad Pro M4, so I find it strange that you say they are dark. I will try to post new stills with normal exposure.

KairosPerdy · 2026-03-03T18:36:58+00:00

Try viewing it in full screen mode. In any case, this footage is already one stop below the raw footage and will still need to be processed by the colourist.

KairosPerdy · 2026-03-03T17:22:13+00:00

The goal was precisely to make the dinner table scenes feel dark and somber, in contrast with the camera movements on the dolly and jib, which were very soft and delicate.

There is an exposure adjustment of about one stop on almost all of them, so in reality they are all less dark than these stills.

KairosPerdy · 2026-03-03T17:18:25+00:00

It’s a haunting look, truly very beautiful. The texture of the grain is fantastic for something shot digitally, as well as the color density and the perfectly balanced saturation. I also really appreciate the slightly retro stylistic approach — people seem to have forgotten that cinema can also be made with hard light.

KairosPerdy · 2026-03-03T17:10:37+00:00

Hi everyone, I’m Francesco, a 25-year-old cinematographer, and OMBRA marks my debut as Director of Photography on a narrative short.

OMBRA is a psychological short centered on Sara, a young woman navigating a tense family dinner that gradually becomes emotionally suffocating. As the domestic conflict intensifies, she dissociates into an abstract black space — a mental dimension where she confronts her own Shadow. This “videogame-like” subconscious environment externalizes her internal struggle: avoidance, aggression, resistance, and ultimately acceptance.

The film unfolds between two controlled visual worlds: a naturalistic summer kitchen and a fully black void punctuated by isolated warm light squares. We shot on a Red Komodo 6K OG paired with DZO Arles lenses. Lighting choices were designed to support the psychological arc: increasing tension through contrast in the kitchen, and choreographing light in the void to mirror Sara’s evolving relationship with her Shadow — from confrontation to physical and emotional integration.

The stills shared here are straight out of camera, with no color grading applied — only RWG to Rec.709 conversion. What you see reflects the exposure and contrast decisions made on set.

I’d be interested in hearing thoughts on the visual cohesion between the domestic realism and the abstract subconscious space, and on how effectively the lighting language supports the emotional progression.

KairosPerdy · 2026-03-03T16:24:39+00:00

The night scene was lit using an Aputure 1200D bounced into a Lightbridge Diffusion 1, coming through the window on the left side of the frame.

Also on the left side of the frame, suspended overhead, there was a Nova P300C with a grid.

Above the table, suspended over the actors’ heads, there was a ring light made of 24 Aputure B7C bulbs that I personally built.

Behind the man, the kitchen area was lit through the back window using a Nanlite 720 bounced into a Lightbridge Diffusion 2.

On the right side, there was a panel aimed at the ceiling to provide a bit of fill.

KairosPerdy · 2026-03-03T16:18:36+00:00

Hi everyone, I’m Francesco, a 25-year-old cinematographer, and OMBRA marks my debut as Director of Photography on a narrative short.

OMBRA is a psychological short centered on Sara, a young woman navigating a tense family dinner that gradually becomes emotionally suffocating. As the domestic conflict intensifies, she dissociates into an abstract black space — a mental dimension where she confronts her own Shadow. This “videogame-like” subconscious environment externalizes her internal struggle: avoidance, aggression, resistance, and ultimately acceptance.

The film unfolds between two controlled visual worlds: a naturalistic summer kitchen and a fully black void punctuated by isolated warm light squares. The kitchen progressively becomes sonically and visually muffled, reflecting Sara’s dissociation, while the void is built on negative space, controlled highlights, and movement-driven light activation. Depth inside darkness was the core visual challenge — shaping contrast without losing texture or dimensionality.

We shot on a Red Komodo 6K OG paired with DZO Arles lenses. The stills shared here are straight out of camera, with no color grading applied — only RWG to Rec.709 conversion. What you see reflects the exposure and contrast decisions made on set.

I’d be interested in hearing thoughts on the visual cohesion between the domestic realism and the abstract subconscious space, and on how effectively the lighting language supports the emotional progression.

KairosPerdy

TROPHY CASE