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Geoff Boyle
Here’s a terrific six-minute piece by Geoff Boyle that discusses “film looks” and digital. He also mentions a relatively new software called FilmConvert ($200) that I have yet to try but looks very promising, especially for those shooting with DSLRs. https://www.youtube.com/watch?v=_vSazOL4FtE&x-yt-cl=84924572&x-yt-ts=1422411861
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
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6 Replies
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Good find, Rick… a very worthwhile watch.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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Also see this fairly long piece by Phillip Bloom on FilmConvert:
https://philipbloom.net/2013/08/16/filmconvert/
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com -
How do we square that, with this?
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Mark, I don’t think I quite understand your “squaring” comment. The filmmakers used:
“We came across two things that elevated the look,” Baker said. He used a Moondog Labs anamorphic lens and an app called Filmic Pro to get the film’s grainy and sophisticated look.”
How does that not square with either what Geoff Boyle is saying or the use of FilmConvert? There is never just one way.
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com -
Boyle was saying he wants more out of every camera, more pixels, more data, higher bandwidth. The iPhone has a nice camera in it but it ain’t no Alexa. The again, it’s never ultimately about the tools, but how good a story you tell, with the tools you choose or have available, is what I out of the Tangerine story.
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So true! First of all, it’s the story. As we all know, one can make fantastic pictures with a Kodak Brownie, and fantastic movies with any damned camera there is, provided you know how to use it. Given a choice, I would always opt for the camera with more pixels and more reach into highlights and shadows. But if the choice were between shooting with camera X and not shooting at all, I’d choose camera X and make it work as best I can.
It seems to me that is exactly what the makers of Tangerine did. Had they a choice of a better camera, they’d have chosen it. But they didn’t have the choice and they mastered the situation. Geoff Boyle’s comments seem to me to remain highly cogent.
Rick Wise
Cinematographer
MFA/BFA Lighting and Camera Instructor Academy of Art University
San Francisco Bay Area
https://www.RickWiseDP.com
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