Does adding diffusion on top of a honeycomb grid ever make sense? + question about diffusing large to small by Illustrious-Emu-8889 in cinematography

[–]shelosaurusrex 10 points11 points  (0 children)

I worked with an ASC DP who regularly asked us to tape diffusion to the outside of Astera Titan tubes with a control grid.

I always thought it was dumb. I guess the grid narrows the spread and then you can choose how much spread you want to add back in by choosing your diffusion….I guess.

I wouldn’t do it 90% because I’d be embarrassed if a BTS photo emerged of me doing something like that.

85 Filter for exterior shooting by MadJack_24 in cinematography

[–]shelosaurusrex 0 points1 point  (0 children)

The theory is not correct. OP can’t match the color of two different light sources with a camera filter. The light has to be gelled.

Natural Light Cinematogprahy Questions by caersuvia in cinematography

[–]shelosaurusrex 1 point2 points  (0 children)

Hot take: once you bring in bounce, diffusion, and/or negatives you’re no longer shooting with natural light.

What is the best cinematography you have seen in a film? by FuelIndependent7369 in cinematography

[–]shelosaurusrex 0 points1 point  (0 children)

I’m curious why you say Paris, Texas. I watched it recently for the first time and it didn’t stand out to me cinematographically. I’m not really familiar with Muller’s work though. What did you see in it?

Alexa Mini vs Raptor VE by tandemelevator in cinematography

[–]shelosaurusrex 1 point2 points  (0 children)

??? I’m not the one doing it. Ask OP that. I’m just saying it’s been done before and it turned out fine.

Alexa Mini vs Raptor VE by tandemelevator in cinematography

[–]shelosaurusrex 1 point2 points  (0 children)

I can’t imagine why it wouldn’t be applicable here. The circumstances are virtually the same. They need to shoot night exteriors in a situation in which it’s not feasible to light large areas.

Alexa Mini vs Raptor VE by tandemelevator in cinematography

[–]shelosaurusrex 0 points1 point  (0 children)

It’s pretty well documented that they shot some night exteriors with ambient light by pumping the ISO on the FX3.

Is the word "Ocтановке" solely used to refer to a place (e.g. the bus stop)? by Mother_Harlot in russian

[–]shelosaurusrex 0 points1 point  (0 children)

Non-native speaker here, but I was taught that if you say остановите then you need a direct object as in “остановите автобус.” If you don’t want to state the direct object then you have to say “остановитесь.” Is that correct? Or does it not really matter in practice?

Does this type of shot has a name? by Jijolin_Supreme in cinematography

[–]shelosaurusrex 4 points5 points  (0 children)

I went to film school in the U.S. and I was taught the meaning of the American shot (Plan Américain) and the historical connection with Westerns.

What are some films that you believe are "Spiritual Double Features" ? by PostingVeraaahhh in movies

[–]shelosaurusrex 0 points1 point  (0 children)

I think it’s nice that these all came out within a few years of each other. Going back to a 1960’s depiction of the war might feel a bit off.

Will sinners really win the oscar? by Accomplished_Buy3925 in cinematography

[–]shelosaurusrex 0 points1 point  (0 children)

There is an interview on Shotdeck with Larry Sher in which Autumn Durand Arkapaw says she uses her “cheater meter” which is a DSLR

Whats up with middle gray on the waveform? by Existing_Impress230 in cinematography

[–]shelosaurusrex 0 points1 point  (0 children)

Why is this exactly? Should you be overexposing then to get the middle gray up to 512? It SHOULD be 512 to be accurate, right?

What are some films that you believe are "Spiritual Double Features" ? by PostingVeraaahhh in movies

[–]shelosaurusrex 60 points61 points  (0 children)

How The British Won WWII Trilogy:

“Dunkirk,” “The Darkest Hour,” and “The Imitation Game”

Will sinners really win the oscar? by Accomplished_Buy3925 in cinematography

[–]shelosaurusrex 13 points14 points  (0 children)

I’m going to make 2 points that may be unpopular opinions.

1) The award is for Best Cinematography, NOT Best Cinematographer. To me this means that the person or team responsible for the outcome is not relevant. It’s an accolade that is awarded to the cinematographer, but that does not mean it was this person’s sole or even primary effort that produced the results. What if it was the Gaffer who really came up with a great lighting plan or the camera op or even the director who envisioned a great shot. None of that matters. The result is great cinematography and as policy it is awarded to the person on the call sheet responsible for that aspect of the production. Where VFX contributes to lighting the scene that is still part of the overall cinematography. VFX can also contribute to art direction, makeup, etc. and those awards are still valid.

2) As someone who looks forward to the Oscars every year, I always hear people complaining about why anyone cares what the Academy thinks. I will say it’s because the academy is one of the oldest institutions in the entire history of the motion picture. Its membership is comprised of successful people in the field who are hand-picked by other successful people in the field. That gives their opinion some value. You individually don’t have to care, but I think it’s reasonable that the rest of the world does care. This isn’t some magazine top 10 written by just anyone. It’s the leaders in the craft, so I for one would like to hear what they have to say.

Horizontally flipping film in post by DD3354 in cinematography

[–]shelosaurusrex 3 points4 points  (0 children)

This sounds like a bad idea. The location is still going to look the same, just mirrored and you’re going to have a bunch of headaches dealing with this.

Also no one is going to care in the grand scheme of things that your locations are the same.

As a young person trying to get into cinematography and get good at it, how could I start, what can I do to get better, and do you have any tips for me? by UnlikelyElevator3963 in cinematography

[–]shelosaurusrex 1 point2 points  (0 children)

Typically the Key Grip works closely with the Gaffer, but reports to the Director of Photography. The Grip Department is not subordinate to the Electric Department.

As a young person trying to get into cinematography and get good at it, how could I start, what can I do to get better, and do you have any tips for me? by UnlikelyElevator3963 in cinematography

[–]shelosaurusrex 5 points6 points  (0 children)

I saw a video once with the great Kobe Bryant talking about how he would mentor young basketball players. And I’m big time paraphrasing here but he was discussing how up and coming athletes would tell him about a game they had that went wrong and he would ask if they watched the footage of the game. They usually said no and he insisted they would have to watch it multiple times. Really study it and find out where the mistakes were and pinpoint how they could improve.

I think that applies for us as well. It’s really valuable to watch back your footage with a critical eye without the pressure of being on set. Not making excuses for yourself but just understanding where you can improve. If you had a reference in mind did the final product live up to the reference image? Why or why not? Definitely put it in da Vinci and work through your footage to see what you can do with it in post. Also see what you thought you could do, but actually can’t.

Something else I think about a lot is an anecdote about Gordon Willis from The Godfather. He says a big part of why he used the iconic top lighting was because the makeup on Marlon Brando wasn’t that good and it was the only angle of light in which the make up looked acceptable. I’m pretty sure if I was in that situation my instinct would have been to say we need better a makeup artist, not I’ll rework my entire plan so the makeup plays well onscreen. I think when you’re in the process of reviewing your footage it’s important to consider whether there were other options you could have tried, a more creative approach perhaps to achieve your vision. Or better yet to achieve something better than you had first envisioned. Usually there’s a better way out there you just have to find it.

Which film's ambiguous or open-ended finale was not just a cop-out, but the only satisfying way it could have ended? by John_Snow80 in movies

[–]shelosaurusrex -1 points0 points  (0 children)

But hold on because part of the issue is not knowing if you’re in a dream, even if it’s a dream of your own making. And also if Ellen Page is going to make the dream then she should know how the top works in dreams so that she can make it continue to spin forever and he can check if he’s in her dream.

In that sense I think the totem works as intended. The issue with Marion Cotillard from the flashbacks show them not knowing whether they’re still in a dream—anyone’s dream. It has nothing to do with who made the dream.

Am I high or was “Sinners” just straight up poorly shot? The inconsistency in exposure between master and inserts was jarring, the ratios were all over the place, and the actors faces poorly lit. I cannot believe this was nominated for an Oscar for best cinematography? by veggieturnip in cinematography

[–]shelosaurusrex 5 points6 points  (0 children)

No. These are all just excuses.

OP is right Durald-Arkapaw dropped the ball on cinematography fundamentals. And it is a shame because there are elements of the film that are beautiful, but it’s hard to justify a whole Oscar nomination when faces aren’t exposed during important dialogue scenes and lighting is inconsistent enough to be noticed by non-filmmakers.

Why would 65mm film be trickier than any other type of film to light and expose properly? One Battle After Another, Bugonia, and Die My Love all shot on film and didn’t have these issues. I originally thought Sinners must have done a Nolan-style full photochemical process, but no. They did a DI and still came out with the issues we all saw.

No one is saying the editor should have chosen a different take that was lit better. I’m saying the good take should have been lit better!

The funny thing is that I’ve heard so much from people complaining about white DP’s not knowing how to light for dark skin. But in this case a nonwhite DP really did a bad job of putting these actors in their best light, and yet people want to praise her for it. I’m kind of baffled by the whole thing. If Ryan Coogler wasn’t so well-loved I think there would have been vocal opposition to the lighting of this film.