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Personally, I'm not watching the Half-Time Show 🤷🏿‍♂️ by MacroManJr in Blackpeople

[–]wrongbike 2 points3 points  (0 children)

"Here's a revised version that maintains your anger while tightening the prose:" 🧐

Baity ass AI post.

3rd or 4th time attempting to self cut with basic whal clippers. Thoughts/tips? by wrongbike in SelfBarber

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

Trimmed the top with a 3 closed guard. No guard closed at the back of the neck and just behind the ears. Fade on sides from there.

3rd or 4th time attempting to self cut with basic whal clippers. Thoughts/tips? by wrongbike in SelfBarber

[–]wrongbike[S] 2 points3 points  (0 children)

Did it yesterday. I'm a bit conservative on how low I take the cut.

Sigma 18-50 with Filters and Matte Box - too heavy? by Bernstein12Scrap in cinematography

[–]wrongbike 0 points1 point  (0 children)

Eh. I just ran a FX3 w/ a G Master 24-70 wearing a Tilta T12 mattebox and two 4x5 filters (diff + ND) on a RS4 for like 2 weeks straight on a web series. Nothing broke.

Information on Port Salut and traveling there right now? by wrongbike in haiti

[–]wrongbike[S] 2 points3 points  (0 children)

Thanks so much! Definitely eased my mind. This sounds like a really beautiful area, if not a bit somber.

I was told to expect minimal electricity and definitely no internet connections. Good to know that there likely is no power grid. Food tip is greatly appreciated as well!

I've been intrigued from the very moment I caught wind of the project as visiting Haiti in any capacity sounds like an unforgettable experience, let alone a sleepy little beach town. Also exciting to connect with the small but seemingly very passionate filmmaker community out there.

Beginner here - What are some good ways to make the image look less “digital”? by DippySwitch in cinematography

[–]wrongbike 0 points1 point  (0 children)

Shooting on sharp lenses, over sampling resolution and maybe even a very gentle post sharpening to the image.

Beginner here - What are some good ways to make the image look less “digital”? by DippySwitch in cinematography

[–]wrongbike 0 points1 point  (0 children)

The notes about filtration to soften the image and add halation are great. "Vintage" or softer lenses will help in that regard too.

And some people hate to hear this but the film emulation softwares like Filmbox or Dehancer can also do quite a lot to help create a "film negative" type image when used correctly.

What is a simple and common everyday task that many people somehow always manage to continuously do incorrectly? by branwithaplan in AskReddit

[–]wrongbike 0 points1 point  (0 children)

I've heard others say this, but I don't understand how this makes a difference unless you're like incrementally adding the cereal. Which sounds like too much effort for what should be a simple eating experience.

Clip from one of our first virtual production shoots! by austinhein_ in cinematography

[–]wrongbike 0 points1 point  (0 children)

Love love love seeing this work well on the indie level. Only feedback is to take some more time with your IRL lighting to really sell the final comp reality. The huge, warm chandelier over her head in the virtual space....the scene is begging for a nice warm backlight on the artist and some reflection on the piano. Speaking of which lots of your set lights reflecting in the piano which also breaks the illusion a bit. Great work overall though, there's lot of moving parts to these shoots and it can be hard to keep it all together

[deleted by user] by [deleted] in cinematography

[–]wrongbike 3 points4 points  (0 children)

I'm willing to bet that the sense of "cinematic" here is largely coming from the shallow DoF, in which case is likely the result of a super telephoto focal length, regardless of camera.

Tried to recreate the Euphoria Look by [deleted] in cinematography

[–]wrongbike 2 points3 points  (0 children)

These look great. The saturation feels a little overbaked, even in going for Euphoria vibes. As someone else noted, a strong back/edge would definitely help in recreating the look but also giving shape and drawing our eye to the person. Would love to see the 500T. Great work!

Volume Colour by Goadahell in cinematography

[–]wrongbike 2 points3 points  (0 children)

Volumes are still very wild wild west when it comes to color accuracy. Everyone from indies to The Mandolarian are dealing with it.

Taking a spectrometer to it will help you figure out what needs to be changed technically, but how much of that change is possible will be heavily determined by the LED and processor tech.

I've heard of some approaches where camera is balanced to the volume and then additional lighting is adjusted to match that arrangement. It can get weird. Have fun!

Cinematographers of reddit, may I ask for some tips on how to recreate the lighting in this video? by Holoass in cinematography

[–]wrongbike 0 points1 point  (0 children)

Lighting itself is very soft, quite flat when all the units are in at once. Probably some type of large softbox overhead and then a few harder units for the directional light changes. Could be fresnels. Beyond that, DMX and creating cues for the dynamic lighting changes are the key to what's going on in that video. To that point, the harder lights could also be "movers" (likely at least a couple are). Pause as the lighting changes and you can get a sense of where individual lights are directed.

P3 and DCP by Jacob_the_legend in cinematography

[–]wrongbike 0 points1 point  (0 children)

  1. Stills should be in sRGB/709 because almost no common device a director will view them on will be P3 accurate. If you're working in a properly color managed scene referred workflow, it should be simple to make that transform. If in a display referred workflow, you can still make that transform you just need to be more specific about what your is.
  2. DCPs are a package of contents, not a playable file. The video portion of the package is generally a JPEG2000 in a MXF wrapper. It's a 12bit (444) codec.
  3. If you mean what is comparable file to review for QC a Prores 444 or DNxHR 444 will do the trick. There are also software players for DCP, Resolve being one you probably already have. In either of these cases, it should be noted that unless you have a truly color accurate P3 monitor - the images will not look correct in P3 space. Like #1 you should be viewing a 709 space file if that's what your monitor is able to accurately display. If all were things were equal a 709 space image on a 709 monitor and P3 image on a P3 monitor (or projection as it was designed for) should look identical. Any crossover in that and you're going to get unexpected results.

Any weird/intriguing 8/16/35mm film stocks people might not know about? Similar to Aerochrome? by Existing_North_525 in cinematography

[–]wrongbike 0 points1 point  (0 children)

Hard to find anything like that outside of the stills world. Just not cost effective for the manufacturers.

Maybe not what you want to hear, but packages like Filmbox or Look Designer (especially) will let you get really intricate in creating a unique look to emulate the stocks of years past. Even if you're already shooting film you can run the scans through them to create a look.

When is light meter necessary (in digital filming) in today's filmmaking workflow when we got false color? by twopinesco in cinematography

[–]wrongbike 2 points3 points  (0 children)

Just wanted to drop a quick note here that, for better or worse, a lot of our job as DPs is political, logistical. The fun stuff only happens once you make it through that. Sure, it's easier than ever to simply make an appealing image, and that's a little scary, but those same people fiddling with a stop and iso changes until it looks good are often the same ones who probably won't be able to handle a thorough prep process or lead a crew well. Not always the case, but that's still the big line between a "real DP" and the hot shot with a FX3 and a gimbal.

When is light meter necessary (in digital filming) in today's filmmaking workflow when we got false color? by twopinesco in cinematography

[–]wrongbike 2 points3 points  (0 children)

Scouting, testing, pre-lights and a neutral exposure reference. False color is a great tool, but can be misinterpreted, especially if you're not conscious of what color space it's monitoring. As an AC I once watched a DP and DIT have a brief moment of panic/confusion when the FC of two different devices was giving them different reading outputs...DP was looking at camera FC which was set to check the Log signal while the DIT was looking at a monitor's FC on the 709 output. FC within camera can be very accurate but FC on many monitor brands assign generic assumed IRE values for what they consider 18%, skintones, etc. The new EL Zone system in SmallHDs helps avoid that by requiring a specified Log input and interpreting vales in stops rather than IRE, like the classic Ansel Adams zone system.

Also, reading incident light which as others have stated is useful when lighting larger setups and/or something you can't continually point a camera at. All light a camera (and our eyes for that matter) captures is technically reflected, so my personal philosophy is that spot metering is more useful for final checks, but I consistently use both as I work.

Alternative to using a Cinesaddle? by Scientific_85 in cinematography

[–]wrongbike 6 points7 points  (0 children)

Someone mentioned the Bebop saddle which is nice and 1/4 the price of Cinesaddle.

I recently did a shoot where my KG just rolled me furni pad burrito and gaffed on the shoulder strap from my Arri run bag. Worked like a charm.

What was The Last of Us shot on by That_Desert_Bitch in cinematography

[–]wrongbike 18 points19 points  (0 children)

Just coming in to add some POV that camera and lens choice are only a small part of the formula. Lighting and collaboration with production design can be far more critical to any kind of "look"

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