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Added by Sarv Taghavian--Creative Planet Network, 05/17/13 04:05:54 PM

An ND Filter Test: Who's On Top?

Cinematographer Ryan E. Walters tests out four sets of ND filters. He writes, "Neutral density (ND) filters are supposed to be devoid of color shift. Ideally they only affect the amount of light entering the lens, not the color balance. Unfortunately, it is very difficult to produce an ND filter that is truly neutral. This is why I set out to test four sets of filters. I wanted to see how neutral they really are.

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Added by Sarv Taghavian--Creative Planet Network, 05/17/13 11:05:06 AM

A Color Grading Tutorial to Achieve the Summer Blockbuster Look

Colorist Juan Melara has provided the below color grading tutorial for achieving what he calls "the summer blockbuster" look, which predominantly features teals and oranges. Melara uses Davinci Resolve Lite and also provides downloads of the footage and LUTs he used so that you can follow along. Watch below and read more here on his site.

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Added by Sarv Taghavian--Creative Planet Network, 05/17/13 11:05:56 AM

Technicolor's Dailies Workflow for 'Oblivion'

Scribd has published a case study on Technicolor's dailies workflow for Oblivion, which was shot on then-untested Sony F65. Says co-producer Steve Gaub, "The F65, at the time, was brand new technology and required proprietary means to get media off the camera, we had to rely, of course, on Sony to map out and fnalize a workflow. But I knew Technicolor would be best suited to process dailies on location, coming out of this new workfow.They have the color science and facility backbone, and a unique technology that was suited for what we were trying to do. We had a brand new camera, a brandnew workfow, and we wanted a mobile approach [to dailies]." Read or download the full case study here.      

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Added by Sarv Taghavian--Creative Planet Network, 05/16/13 11:05:20 AM

Claudio Miranda: 'Oblivion' Was a Guinea Pig for the Sony F65

Cinematographer Claudio Miranda talks to Jay Holben of American Cinematographer about being one of the first major productions to use the Sony F65. He says, "We ended up being some of the first guinea pigs for the F65 in a production scenario,” he continues. “It gives you a fantastic image, but it’s a large camera, and the ergonomics aren’t necessarily the most user friendly. When we wanted to put body mounts on Tom Cruise or do quick Steadicam moves, we used Red Epics instead. But about 98 percent of the movie was shot with the F65.” Read the full story here.

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Added by Sarv Taghavian--Creative Planet Network, 05/15/13 05:05:45 PM

Bill Bennett Shoots Audi Commercial with ARRI Alexa Prototype

The beautiful black and white Audi commercial found below was recently shot by Bill Bennett with a prototype ARRI Alexa. Explains Momentum Blog that the camera "is only sensitive to light in the infrared part of the spectrum, with wavelengths longer than 800 nanometers." Read more here and watch the spot below.

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Added by Sarv Taghavian--Creative Planet Network, 05/15/13 11:05:06 AM

ASC Breakfast Club with M. David Mullen, May 21, L.A.

The American Society of Cinematographers presents a Q&A with cinematographer M. David Mullen whose work includes Big Love, Twin Falls Idaho and Big Sur (see our article about it here.) The event is taking place on Tuesday, May 21st from 9:30 AM - 12:00 PM at the ASC Clubhouse located on 1782 North Orange Dr., Hollywood, CA. Tickets are $35 online and $40 at the door. Read more and purchase tickets here.  

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Added by Sarv Taghavian--Creative Planet Network, 05/14/13 12:05:42 PM

Behind the Scenes of a 100 DSLR Array for Rolls Royce

To shoot the launch film for Rolls Royce Wraith, director Angus Elliott set up a massive camera array with 100 Nikon DSLRs. See the set-up unfold in this behind-the-scenes video. The final product can be found below. (via PetaPixel)

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Added by Sarv Taghavian--Creative Planet Network, 05/14/13 10:05:25 AM

John Toll Chooses ARRI Alexa to Shoot Iron Man 3

Cinematographer John Toll decided to go digital to shoot Iron Man 3, ultimately choosing the ARRI Alexa.

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Added by jzaccaria--Creative Planet Network, 05/13/13 11:05:41 AM

Conversations with Filmmakers and Creatives on the Topic of 4K Video

Michal of motionVFX Team writes: We all know that 4K is the future and while Full HD is still the king, in a few years we will all have to shoot in ultra high resolution. This is why 4K is such an interesting topic and at this year's NAB many filmmakers talked about it, there was also a lot of 4K hardware displayed on the fair. It is hard to say if you should already start to change your equipment and shift to the new resolution standard, maybe you should wait a little bit for the prices of the cameras to drop, but the clock is ticking. Fresh DV talked to many filmmakers at NAB and they did a lot of great videos - here's one of them. The website took the camera to the floor and they interviewed several filmmakers and creatives on the new standard. You can watch this video here: READ THE FULL STORY HERE.

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By: Michal, motionVFX Team

Added by jzaccaria--Creative Planet Network, 05/13/13 11:05:31 AM

Eleven Minutes and Fifty Seconds With RED Ted Schilowitz

Cinescopophilia writes: Curt Pair and Band Pro recently caught up with Red co-founder Ted Schilowitz and he shared some insight into the latest offerings from Red Digital Cinema at NAB 2013. Red Digital Cinema are leaders in the production world. They started their career at NAB, some seven years ago in a little tent. Many laughed at their “dream” of making a 4K camera. Once a reality, no one laughed anymore! Instead, the biggest projects in Hollywood fell in line, and they started shooting some of the largest projects in the business on Red cameras. It’s only apropos that Red Digital Cinema take the lead once again, this time with the release of their Dragon 6K sensor, at NAB 2013. READ THE FULL STORY HERE.

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By: Cinescopophilia

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