The mind of a filmmaker/cinematographer

Anonymous asked: Bonjour vous ne cherchez pas d'assistance? Jpierre


Anonymous asked: I was wondering, do you edit your own work? If so was it all trial and error or did you take classes?

Yes, I edit all my work. 95% of the time i enjoy it and the other 5% it’s a chore!

I feel editing/colouring is an extension of cinematography so I shoot to edit.

Regarding how, all trial and error, YouTube tutorials and Vimeo inspiration!

Spent all day putting a first grade pass on the dailies before I start cutting. Still haven’t hit the right grade I want. It something along the lines of the last two photos but those are from the 5DMK3 RAW and struggling to match grade on the BMPC4K.

Let’s see where the edit takes the grade!

Ps. My iMac doesnt like 4K RAW footage very much, Davinci is groaning. 4K RAW -> 4K ProRes Proxy, hopefully, those playback smoothly in Premiere Pro.

Sometimes I forget how truly awesome the Canon 5Dmk3 + ML RAW firmware is. Clunky to use on-set but the images are amazing. I use it as a B-cam to the BMPC4K or as a “slow-mo” camera since the BMPC4K doesn’t shoot higher than 30fps. Make no mistakes, the images from this are A-cam quality!

Camera: Canon 5Dmk3 + ML RAW firmware

Lens: Canon 100mmL

Footage ungraded.

(B-Cam stills from today’s shoot)

@LifeOfHersUK featured on @blackmagic_news press page! Full feature in the pipeline!

@LifeOfHersUK featured on @blackmagic_news press page! Full feature in the pipeline!

Obligatory stills + test grade from yesterday’s shoot.

Really loving the skin tone rendition of the BMPC4K. Got to use Zeiss CP2 SuperSpeeds…  really sweet lens!

Camera: BMPC4K

Lens: Zeiss Compact Prime CP.2 85mm/T1.5 Super Speed

Graded in Davinci Resolve using VisionColor OSIRIS + Impulz LUTs

Faking it.

One thing I love about filmmaking is creating your own fictional wold. The shot above was shot at high noon but the we wanted a nigh time, moonlit scene.

Solution was to block out all the light coming into the room and cut out a square opening through which we shun a gelled ARRI 650W to simulate moonlight. A practical light in the scene always helps too (my trademark lamp!)

Picture 1: As shot (film mode on BMPC4K)

Picture 2: Graded in Davinici Resolve with OSIRIS LUT (KDX)

Colour correction/grading is an extension of cinematography.

The best advice is to get the best shot optically and have little to do in post.

This is me getting to grips with re-lighting in post using power windows in Davinci Resolve.

Picture 1: As shot

Picture 2: LUT (OSIRIS KDX LUT) applied

Picture 3: Relight around LUT

Camera: BMPC4K

Lens: Tamron 24-70 VC

The anamorphic look is something I highly covet! Personally, flares aren’t really my thing, it’s more the stretched oval-shaped bokeh and the wide field of view that fascinates me. I bought an ISCO (2X squeeze) a few months ago but found the de-squeeze a little ridiculous on a 16:9 sensor; extremely narrow at 1920x540. I’ve heard there are some workarounds to get a better aspect ratio but it’s not only that, it’s the fact that I rarely have something to monitor anamorphic footage on - it’s hard to monitor and hard to focus hence why I decided to get the SLR Magic Anamorphot 1.33x.

The 1.33x stretch isn’t the sexiest squeeze when it comes to the anamorphic look. The oval bokeh isn’t as pronounced as the 1.5x and the 2x so people have found it somewhat pointless. I agree, well sort of. The 1.33x works really well with a 16:9 sensor (most digital cameras are) except the likes of ARRI and RED that have a 4:3 aspect ratio option.

The test was initially meant to take place in the great outdoors however the weather was miserable with lots of rain so I was confined indoors so I decided to make the most of what I had… I turned my dinning room in a film set.

This particular test was to see how workable the lens is in terms of
1. Focussing
2. Sharpness
3. Flare

Focusing with the adapter was super easy compared to my ISCO. The focus assist on the BMPC4K really helped too! 1.33x stretch meant the image wasn’t stretched beyond recognition so I could still judge focus on the monitor without a special EVF or field monitor.

Sharpness. The adapter is really sharp. You are advised to shoot at f2.8 and higher and that’s the aperture at which I shot this and then crushed the blacks in post.

Flare. This was my initial concern but the flare does look nice and exactly what I would have wanted. I wasn’t a fan of the flare from my ISCO, it wasn’t sharp and precise, whereas the Anamorphot really is.

My next test will the outdoors where I can get good depth in my shot so I can judge the bokeh!

Camera: Black Magic Production Camera 4K (400 ASA)
Lens: Samyang 35mm T1.5 + SLR Magic Anamorphot 1.33x - 50
Graded in Davinci Resolve (OSIRIS LUT) + Filmconvert
Sound: Composed by myself using some foley and extracts from Neumann Films Horror Movie Music toolbar.

The weather was miserable today so I decided to test the SLR Magic Anamorphot indoors. It was meant to be a simple test then I went crazy with it… Hope the footage is as good as I envisaged. Will post a review once I complete the edit.