Mike makes a great point. I used to stay for all of the projects at the Governor's Showcase and I felt that we still need a lot of work in New Mexico for Cinematographers. I look for Cinematographers elsewhere because I just do not feel that we have quality labor to produce marketable product here in New Mexico. I've hired New Mexico Cinematographers and let me tell you it's so disappointing to pay these guys and then get your footage on a 30" screen to find out you can't sell it. You have to step back and breathe for a moment.
As a photographer I notice that when I'm filming I tend to look at color saturation and depth of field. Some of your lower end cameras you cannot control these manually like you can on a still camera. But your higher end cameras and the new Red camera you can control camera settings to take care of lighting issues. Lighting is very important but so are the cameras that you use to film on and the settings you choose. But also just as important is what are you trying to accomplish visually to tell your story? Batman and Bladerunner are shot on different film stock have different objectives, throw in Pan's Labyrinth and you should get my point.
I'm working on a project that is mostly shot in the dark so I've been referencing projects shot in the dark to see how to light my project. But I have years of experience working with film, so when I'm researching a project there are many things going on in my head to try to understand how a filmmaker got that look. Some darker films (not in terms of content) but in terms of lighting are The Orphanage, Journey to the Center of the Earth, and Mirror Mask, are all great films to reference in terms of your lighting and contrast. Study films like these in order to understand what you want to accomplish. Color saturation films I would look at the Labyrinth.
But you also have to understand how film stock works in order to understand high def.and digital exposure. Or at least that is my experience. When shooting on film stock you can choose a film stock that is based on lighting resources. High Def and digital are a little bit different, you have to manipulate the settings to accomplish the look you are trying to achieve.
Some of the consumer cameras today do a great job cheaply, but you really have to know how film stock works on a digital platform to get great color saturation. So depending on what your objectives are for your project my best advice is to find a great cinematographer and don't wing it like some of the projects you have seen. Learn how to expose light.
Warmest regards and happy holidays to all!!!
As a photographer I notice that when I'm filming I tend to look at color saturation and depth of field. Some of your lower end cameras you cannot control these manually like you can on a still camera. But your higher end cameras and the new Red camera you can control camera settings to take care of lighting issues. Lighting is very important but so are the cameras that you use to film on and the settings you choose. But also just as important is what are you trying to accomplish visually to tell your story? Batman and Bladerunner are shot on different film stock have different objectives, throw in Pan's Labyrinth and you should get my point.
I'm working on a project that is mostly shot in the dark so I've been referencing projects shot in the dark to see how to light my project. But I have years of experience working with film, so when I'm researching a project there are many things going on in my head to try to understand how a filmmaker got that look. Some darker films (not in terms of content) but in terms of lighting are The Orphanage, Journey to the Center of the Earth, and Mirror Mask, are all great films to reference in terms of your lighting and contrast. Study films like these in order to understand what you want to accomplish. Color saturation films I would look at the Labyrinth.
But you also have to understand how film stock works in order to understand high def.and digital exposure. Or at least that is my experience. When shooting on film stock you can choose a film stock that is based on lighting resources. High Def and digital are a little bit different, you have to manipulate the settings to accomplish the look you are trying to achieve.
Some of the consumer cameras today do a great job cheaply, but you really have to know how film stock works on a digital platform to get great color saturation. So depending on what your objectives are for your project my best advice is to find a great cinematographer and don't wing it like some of the projects you have seen. Learn how to expose light.
Warmest regards and happy holidays to all!!!
Felicia J. Lucero
President/CEO
DH&J Investments, Inc.
505-384-6311
www.dhnjinvestmentsinc.com
www.diamondsgemsngold.com
From: Michael L Miller <mlmiller@9POINT.COM>
To: MISP-L@LIST.UNM.EDU
Sent: Tue, 9 Dec 2008 8:37 am
Subject: Re: [MISP] response to response: Contrast level of video productions
***This is a MISP Listserv message. Responses are sent to the list by default.*** ***For more info about MISP and the listserv, scroll to the bottom of the page*** * Hi Jim et al,
Thanks for the topic Jim. It's one of my pet peeves.
Projection is definitely a problem, but it's not the main culprit. I lay it mostly at the feet of the filmmaker. The answer, whether it's film or any digital format is lighting. You must, no matter what your budget, understand lighting or bring on someone (DP/Gaffer) who does. Most of the films I saw would have improved immensely with a rudimentary understanding (and utilization) of the 3 point lighting terms key, fill and back lighting. A properly lit project will overcome a lot of poor projection.
Unfortunately a filmmaker on a low budget will look at a location and say to themself, "There's enough light here" without knowing what it does in the environment and will end up with something that looks flat. It doesn't take much money to light a scene properly. It does take some knowledge. I'd recommend that anyone wishing to improve their product get on line and look up "Rembrandt lighting". Go to your local photo store and check out lighting books. They're cheap and will make sure you know how to make your images "pop".
Mike
Jim Terr wrote:
LEAVING THE LIST /LIST INFO: To leave the list, please email us at: artslab@unm.edu For other list info, please visit: http://groups.google.com/group/nm-media-industries/web/media-industries-list-info Available in RSS: http://groups.google.com/group/nm-media-industries/feed/rss_v2_0_msgs.xml
Thanks for the topic Jim. It's one of my pet peeves.
Projection is definitely a problem, but it's not the main culprit. I lay it mostly at the feet of the filmmaker. The answer, whether it's film or any digital format is lighting. You must, no matter what your budget, understand lighting or bring on someone (DP/Gaffer) who does. Most of the films I saw would have improved immensely with a rudimentary understanding (and utilization) of the 3 point lighting terms key, fill and back lighting. A properly lit project will overcome a lot of poor projection.
Unfortunately a filmmaker on a low budget will look at a location and say to themself, "There's enough light here" without knowing what it does in the environment and will end up with something that looks flat. It doesn't take much money to light a scene properly. It does take some knowledge. I'd recommend that anyone wishing to improve their product get on line and look up "Rembrandt lighting". Go to your local photo store and check out lighting books. They're cheap and will make sure you know how to make your images "pop".
Mike
Jim Terr wrote:
***This is a MISP Listserv message. Responses are sent to the list by default.*** ***For more info about MISP and the listserv, scroll to the bottom of the page*** *LEAVING THE LIST /LIST INFO: To leave the list, please email us at: artslab@unm.edu For other list info, please visit: http://groups.google.com/group/nm-media-industries/web/media-industries-list-info Available in RSS: http://groups.google.com/group/nm-media-industries/feed/rss_v2_0_msgs.xml(Response to Doug Bocaz-Larson response below)Well, projection issues such as wrong aspect ratio is another story, probably easily cured, but I'm wondering about this contrast thing. My suspicion is just that there's no standardization of what a monitor should look like, how it should be set / calibrated, so we get these videos that look dull in a side-by-side comparison like a short video fest.I hope you'll share your response (below) with the whole discussion list, to generate discussion, so people won't think it's "just me."This video of yours looks good in terms of contrast, etc. The same contrast/brightness problem, when it exists, will show up on YouTube etc. but to a much smaller extent than in this theater projection situation, in my experience.-----Original Message-----From: Doug Bocaz-Larson [mailto:dbocaz@nmsu.edu]Sent: Tuesday, December 09, 2008 7:03 AMTo: Jim TerrSubject: Re: [MISP] Contrast level of video productionsJim,We're dealing with all these issues so you hit the nail on the head.It is frustrating when we have projects at festivals and projection isn'twhat we hoped for. It would be wonderful to have tips on how to helpavoid this.We're trying to do low budget projects out our way. Usually we do sillystuff because low budget and B movie seem to be a good fit. We'recurrently trying something higher quality though. I'd love to get yourfeedback:http://www.youtube.com/watch?v=eNDObphlXfc (Shorter version)Thanks,DougOn Tue, December 9, 2008 5:17 am, Jim Terr wrote:> ***This is a MISP Listserv message. Responses are sent to the list by> default.***> ***For more info about MISP and the listserv, scroll to the bottom of the> page***> *>>>> Hey folks - I think I have a bona fide "Discussion" topic here, for this> discussion group!!>>>> Background: I make it a point to attend all the screenings of local shorts> I> can, at the NM Film Festival & Expo, Duke City Shootout, etc., because as> one of the many people who hope to make a feature some day, I want to keep> up on who the local actors and production people are, etc.>>>> Setting aside issues of writing, acting and even "production," I've> noticed> a big problem in BRIGHTNESS AND CONTRAST of many local productions, when> projected in theaters for these programs, compared to higher-budget or> "slicker" productions, from out of state or whatever. (I'd say it has to> do> with the projection, but I've noticed this in several venues, and have had> much chance to compare and "contrast.") The "local" problem I see is> relatively low contrast, and sometimes low brightness as well. Overall> effect: dull.>>>> I've noticed this problem particularly in many of the otherwise fine> shorts> put out by the NM Film Intensive. I'm wondering what the problem is here.> Are these films typically edited at some single editing facility, whose> monitors are perhaps not calibrated the same as monitors elsewhere? Are> they> perhaps cranked up a little in terms of contrast, so that the resulting> videos are not sufficiently contrasty when shown elsewhere?>>>> I've often noticed that most of my own footage, even when it looks good &> bright on the camera and in capture, has to be jacked up in terms of> contrast, when edited, to look good on my monitor, which is just my> computer> screen. But I do it, and the resulting videos always look to me> sufficiently> contrasty, when projected at these programs, relative to the best and> highest-budgeted-looking stuff at these programs.>>>> So what's the deal here? Does anybody have any thoughts? I'd especially> enjoy hearing from some of the old hands who know something about> calibration, standardization, or whatever.>>>> ON ANOTHER ISSUE, the perpetual quest to make a very low-budget but very> good feature, I saw a film at the SF Film Festival which re-enforced my> belief that you can make a great feature for under $100k. This was a> California production called "RULE OF THREE", made for $50,000 as I> understand it, with contributions of $5,000 each from each of the actors> involved, their families, etc. The trailer (which doesn't quite capture> it)> is on YouTube at http://www.youtube.com/watch?v=J4T01XkpteY . My YouTube> comment is below. I would love to bring the film and the filmmakers here> for> a discussion of how you pull off a film this good for $50k. (I think it> has> something to do with script and actors.)>>>> Jim Terr www.JimTerr.com>> Santa Fe, New Mexico USA>> Tel. 505-989-9298 "275,000 YouTube views - and> counting!">>>> < http://www.youtube.com/user/hymiehymie > hymiehymie (1 hour ago)>> Great, engaging film - just saw it at the Santa Fe Film Festival. A> "model"> for what a good film you can make on a very low budget ($50k), with great> actors, good shooting, and a compelling, well-written script that keeps> you> guessing. I have seen many films this year costing 100x more than this,> that> were not as interesting. Congratulations to all involved!! But the> trailer?> "A room full of doom"? That sounds more like Dr. Suess, and does not> capture> the hip creepiness of this film.>>>>>>>>> LEAVING THE LIST /LIST INFO:> To leave the list, please email us at: artslab@unm.edu> For other list info, please visit:> Available in RSS:>--Doug Bocaz-LarsonProgram Manager: Computer Science and Creative MediaNew Mexico State University - Grants1500 3rd St.Grants, NM 87020505-287-6656 office505-290-1331 cell__________ NOD32 3676 (20081209) Information __________This message was checked by NOD32 antivirus system.
--LEAVING THE LIST /LIST INFO: To leave the list, please email us at: artslab@unm.edu For other list info, please visit: http://groups.google.com/group/nm-media-industries/web/media-industries-list-info Available in RSS: http://groups.google.com/group/nm-media-industries/feed/rss_v2_0_msgs.xml
MICHAEL L MILLER,
Producer/Director
9 Point Productions, LLC/New Mexico Film Partners, LLC
422 Truman NE
Albuquerque, NM 87108
505-266-5346
505-604-3408 (Cell)
707-281-1372 (Fax)
www.9point.com
WE MAKE MOVIES!
The information contained in this e-mail message, including any and all accompanying documents and other files, constitutes confidential information, which may also be legally privileged.
This information is the property of the sender and/or the intended recipient, and is intended solely for the use of the sender and the individual or entity to which this e-mail is, or was intended to be, addressed.
If you are not the intended recipient of this e-mail transmission, any disclosure, copying, distribution, or the taking of any action in reliance on this information is strictly prohibited.
No comments:
Post a Comment