Devan Scott
@dagscott
Cinematographer | Colourist | Professor | Director [Vancouver, BC] Host of 'How Would Lubitsch Do It' www.movingimageagency.com
Know what a carefully-calibrated contrast curve can do? Create depth by allowing a smart visual designer to subtly differentiate the luminance levels of various layers in a scene! All out the window when one cranks the knobs willy-nilly.
I know that "the film look" [a caricature thereof] is the hammer of the moment to which everything else is a nail, but this is exemplary of why things like "more contrast!" and "more saturation!!" aren't an inherent good. It's clear Villeneuve/Fraser didn't compose around it.
Photos from the carbon arc screening of THE ADVENTURES OF PRINCE ACHMED (+ shorts)
...otherwise you're merely comparing camera-to-camera white balance quality control differentials. This isn't useful to anyone.
Most of the aesthetic attributes raised are trivial to calibrate later in the image formation process via a proper color management, look development, and color grading process. This is just total nonsense, and most of what's being described here is poor white-balance matching.
I try to restrain myself from just yelling at clouds like an old man, but when misinformation goes viral it ought to be pushed back against: this video is a nearly-unbroken string of misinformation and should be entirely disregarded when it comes to digital color science.
You might not like it, but this is what peak teaching performance looks like.
Also worth noting that he sees no contradiction between artistic purity and mechanical focus.
Just singlehandedly taking down the broken philosophy that governs results-based questions like "how do I get this look?" here. It's the same as it ever was: one needs to understand both the mechanics, and the idea that mechanics are means to an end.
Re-reading 'Masters of Light' for the first time in ages; Gordon Willis's specific combination of absolute clarity in his own artistic belief system and complete confidence in his methods still takes be aback.
The cottage industry of channels that take sponsorships from large format camera manufacturers [Fuji GFX Eterna 55 in this case] and make videos filled with misinformation about the benefits about the benefits of large format cameras is really something these days.
My old venn diagram used to explain diegetic lighting has slowly morphed into an expanding brain venn diagram meme.
Sometimes things just line up when you're on page 200 of your research for the day and you can't tell if you're having a stroke or not.
Accidentally left all the commentary tracks on at once while pulling a clip from my disc of The Two Towers and ended up with the Star Wars Wars of commentary tracks.
Each week, our lighting workshop will be paired with a relevant film. Lubitsch, Ford, Ray, Soderbergh: all the stars are here!
Vancouver folks! I've been invited back to @viffest.bsky.social to talk about the history of lighting ideology for four weeks this May. Come say hi if you're in town, and help me demonstrate a century of lighting! viff.org/series/film-...
I feel like it hasn't fully sunk in for folks who don't need it day-for-day how bad SSD and HDD storage prices are right now. 1TB SSDs and entry-level 8TB HDDs are both well over $300, and most models are just fully out-of-stock.
There's no shortage of bones one could pick with the push towards generative AI, but the fact that it's making the production and storage of genuine digital art prohibitively expensive is one of the most infuriatingly ironic.
Here's three shots: 17.5mm (f2.8, M4/3), 23mm (f4, Super-35), and 35mm (f5.6, full-frame 35). Compression doesn't change at all, because field of view remains consistent, and depth of field matches because the increased DOF by dint of focal length changes has been accounted for with aperture.
This music video might very well be the new high water mark for uncorrected log. Was this even graded at all? www.youtube.com/watch?v=E7ya...