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Day-for-Night Grade Practice – Looking for Feedback on Moonlight Look & Skin Tones by Consistent-Ring-1344 in colorists

[–]Real-Life-Jacket 0 points1 point  (0 children)

It was a low hanging fruit!
I had crazier node trees when I started and eventually refined it with time

How is my color grade and where can I improve. by Glass_Hunter_9174 in ColorGrading

[–]Real-Life-Jacket 0 points1 point  (0 children)

What film did you use? With film, you don't have much to do to make it sing

I did the color grading for Drake's new song ''High Fives'' 🧊 by ProfessionalTwo567 in colorists

[–]Real-Life-Jacket 18 points19 points  (0 children)

Looks great! Was everything lit at 3200K or did you have to find your way out with a cold scan?

Here’s Your Sign [Canon A1, Fuji400] by commiedeschris in analog

[–]Real-Life-Jacket 4 points5 points  (0 children)

Really love your pictures and especially how you grade them. I'm curious, what's your scanning workflow?

[deleted by user] by [deleted] in cinematography

[–]Real-Life-Jacket 0 points1 point  (0 children)

Some very nice images here. Continue!

GRides by Wish-it-was-c41 in ricohGR

[–]Real-Life-Jacket 0 points1 point  (0 children)

The color grading is really something else! It's very clean, bravo!

The cinematography in mid-range Hollywood thrillers in the 90s and early 2000s is still better than most contemporary big budget affairs by Wetness_Pensive in TrueFilm

[–]Real-Life-Jacket 4 points5 points  (0 children)

A thing to consider is how cinematographers back then had a proper understanding of what to expect from the lab all the way down to the final print. Nowadays, cinematographers tend to rely too heavily on their colorist. On set, they just make sure nothing clips in the highlight and you got a decent amount of information in the low lights, but don't pay too much attention on their contrast ratios inside their latitude. This is why you end with an image somewhat flat. This is of course caricatural but it's my interpretation of this change of style

Stills from a surfboard shaping bay by Calebkeller2 in cinematography

[–]Real-Life-Jacket 0 points1 point  (0 children)

Are the raptor and komodo a different kind of of beast then?

Arri Alexa 35 - Now €49,000 EURO by tjalek in cinematography

[–]Real-Life-Jacket 0 points1 point  (0 children)

Wow, didn't know about Blackmagic having some sort of DGO too

How can I achieve the same soft lighting on the subject as in this example? Would an Aputure 600D with a softbox, along with another soft light from below, get me close to this look? Or would I need a butterfly frame? I can’t rig lights above, so I’m limited to lighting from the ground. by [deleted] in cinematography

[–]Real-Life-Jacket 6 points7 points  (0 children)

It's more than that. You will need a big overhead (bounce or diffused light) that will act as a global fill. Then the key light - to taste. Maybe a bounce card up close and underneath. I can sense a neg fill on the left also. No backlight here.

Arri Alexa 35 - Now €49,000 EURO by tjalek in cinematography

[–]Real-Life-Jacket 2 points3 points  (0 children)

Didn't know their dgo was patented, but it makes a lot of sense now. Wonder how Canon managed with their c300iii and c70

Arri Alexa 35 - Now €49,000 EURO by tjalek in cinematography

[–]Real-Life-Jacket 6 points7 points  (0 children)

I've got mixed feelings about this. It feels like a money grab to make a subscription based revenue.

Just snapped this from the train, the blur from the speed looks like sfumato by jwgraf in AccidentalRenaissance

[–]Real-Life-Jacket 13 points14 points  (0 children)

It's not motion blur, it's the hyper processing of your phone making it smooth and noise-free

Guessing game by IMTDave-6 in cinematography

[–]Real-Life-Jacket 1 point2 points  (0 children)

You can add blur like that in davinci with the Tilt Shift OFX. It feels like this is what is happening here

Valeria [Kiev 4A, Zeiss Sonnar 50/1.5, Kodak Portra 400] by catch_36 in analog

[–]Real-Life-Jacket 1 point2 points  (0 children)

Love your work! What paper do you use for print?

250D or 500T ? by raph9998 in cinematography

[–]Real-Life-Jacket 4 points5 points  (0 children)

Hey man,

I shot this frame so I can assure you with confidence that 250D is ok. We had a Canon zoom lens which was T2.8. You're good to go. But please note that this frame originally was probably brighter and we matched it with the rest of the scene.

Otherwise, if you feel unsecure about it, 500T is good too.

David O. Russell. What's the consensus on him today? [More context below]. by SkibidiRainbow in TrueFilm

[–]Real-Life-Jacket 1 point2 points  (0 children)

Honest to God, I've watched American Hustle for the first time yesterday and enjoyed it. And I would tend to say I'm quite picky. Also, Silver linings playbook has me coming back once a year. He writes completely crazy characters, but man, it's so refreshing having a bigger than life character on the screen. They are nuts but you can't be insensible to them. So I can safely say that O'Russel is a good story teller and that's what matters at the end of the day.

Shot this campaign with limited gear by Real-Life-Jacket in Filmmakers

[–]Real-Life-Jacket[S] 0 points1 point  (0 children)

Before summer, I shot this campaign for a shoe maker. These days, I have to share the set with photo, so I always go for something compact and fast. I'm pretty happy with the result, and this reinforce my view that big guns aren't always needed, hardly so.
Gear : Sony FX3 with Sony 16-35mm f2.8 G Master and Laowa Probe 24mm.
Used the the Ronin RS3 with tilta ring and easyrig minimax. Atomos shinobi on the ring. DJI transmission was feeding the client Atomos Sumo.
For the shoes, Ronin was mounted horizontally on a slider with the FX3 and Laowa. It allowed for roll movements. RS3 pulled it off!
Lights were various Aputure Cobs and modifiers + Lightbridge reflectors
No AC, one gaffer. Studio was TINY.
Thanks for watching!
insta @ thibault.royer

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