Creating and baking in a unique LOOK with 3D LUTs. Why, how to use in DaVinci Resolve, and how to install and use LUTs on set.
On a feature film, it’s important to understand how aspect ratio is going to affect your story, creatively and logistically. Your framing comes down to how the story wants to be told.
This is the third and last part of a deep dive into the uses of Freefly’s MoVi. Let’s get down and dirty and finish off with some kick ass rigs that my team and I have come up with to bring the use of the MoVI to perfection.
The old era of doing things is gone. You no longer need to set up a crane for an overhead shot – just pop the MōVI on a stick. Don’t get stuck in the past, embrace the present, and think about the future.
Freefly has been instrumental in flipping the whole paradigm on how I shoot movies. It’s not about the trick shots, it’s more about figuring out how we can use this incredible device that Freefly has created, the MoVI, to shift the paradigm of how we make movies and how it change the dynamics within the movie making industry. Welcome to the future.
The look for 2014 in Fathers and Daughters had to feel temporary, lean, crisp, sharp. There would not be any yellow from the Tiffen Antique Suede filtration. The camera emotion has to speak for each character. Taking an actor’s performance even higher is dependent on the camera and how it makes the audience feel. We cannot leave that to only the look of the film itself. We turned to the MoVI for that camera emotion and it worked beautifully in this film.
I wanted to nail the look of Fathers and Daughters in-camera. To do that I turned to Tiffen filtration. The 1989 is Katie’s perspective from when she was 10 years old. This look had to be warm, inviting, colorful, with flares and glowing highlights. The Tiffen Antique #2 gave us this yellow, slightly aged quality to it all. The highlights were perfectly bloomed with the Glimmer Glass #1. These filters were magical and got us right where we want to be, all in-camera.
How can I use the MōVI as a camera emotion to tell the story? The camera emotion thing is very important. I try to take every movie that I do, and attach some sort of specific camera emotion to each character.
This was the kind of day that you look at and say, “Oh, my God, how are you going to make this as a cinematographer?”
Shane Hurlbut, ASC talks about the process of working with directors and his work with Gabriele Muccino on the movie Fathers and Daughters.
Today is a very exciting day as it is the first release of the Into the Badlands trailer for Comic Con. I wanted to share and show you what I have been creating over the last six months. Here is a glimpse of what we have been filming.
How I go about understanding the exposure of a digital sensor, specifically with the Canon Cinema EOS Platform – finding its soul, its breaking point, as well as its deep and dark secrets that you cannot find in a Canon manual.
Many of you ask, why MōVI? It comes down to the team behind the product, the support, the innovation, the forward thinking, the ability to future proof a product. Freefly Systems delivered.
I spoke at “Adobe Tips and Flicks” in 2012 about “out of the box” filmmaking with the Canon 5D MkII on Act of Valor.
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Born in Los Angeles, CA.
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