Video

Indie Filmmaking: Creating Artificial Sunlight

Stay tuned to the end for a chance to win a prize!

As a filmmaker, you are clearly going to shoot plenty of scenes on sunny days. Sometimes the sunlight can really help the look of a shot, and natural light can be really beautiful. But when the sun isn’t working exactly the way you want it, you need to know how to use artificial light to act as sunlight. Knowing how to control the natural sunlight and place lights to fake your own sunlight will help you make the most of your daylight scenes. Today, director of photography Carissa Dorson walks us through how to recreate sunlight for a day interior scene that could fit into a mystery or drama film.

In this video, Carissa shows us the steps she takes when recreating sunlight indoors.
First, she shoots a master shot that follows the character as she walks through the room. For these scene she uses multiple lights to create the textures of sunlight. Next, she shoots a wide shot facing the window that creates a silhouette of the character. This establishes the space and shows the direct sunlight. Lastly, she shoots a medium close up of the character reacting to something in the scene. The tighter shot allows her to fine tune the lighting.

The main techniques we will be discussing today are light quality, color temperature, and negative fill. Light quality refers to whether a light is hard or soft. Since the sunlight is a hard light source, we used hard lighting in the scene to make it feel like sunlight. Color temperature refers to how warm or cool a light source is. Outside during the day the light is more blue, so it’s important to have your lights match that. Negative fill is a technique for using black fabric to take away light in a scene. When working with natural light, it can be more useful to take away light rather than to add light.

At the end of the day, lighting a scene using sunlight is all about realism. If the natural light in the environment is what feels the most real to you, then use that. If adding a single light and a lot of negative fill feels the most real, then use that. The lighting is dependent on the scene itself, and should not take away from the scene. Ultimately the best lighting is whatever tells the story the best.

Connect with Valentina: https://www.twitter.com/valentinavee
Connect with Carisa: https://www.instagram.com/cldorson/
Connect with Catarina: https://www.instagram.com/iamcatarinasousa/

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All Blood Runs Red

Inspired by true events, “All Blood Runs Red” tells the story of Eugene Bullard, the first African-American fighting pilot.

Director: Paul Mignot
Cinematographer: Eric Dumont
Shot on: ZEISS Supreme Prime Radiance and RED Ranger

Learn more about ZEISS Supreme Prime Radiance: www.zeiss.com/cine/radiance

Deconstructing long take camera movement || Seamus McGarvey || Spotlight

Deconstructing long take camera movement || Seamus McGarvey || Spotlight

In this weeks episode Seamus talks to us about the one shot in atonement. How was it achieved? What challenges did he face? What makes a good one shot?


Cooke Optics TV
www.cookeoptics.tv

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Thank you to the British Society of Cinematographers (BSC). http://www.bscine.com/

Filmed with a Sony FS5 and Cooke Mini S4/i Lenses.
Produced by ImageNova. http://www.imagenova.co.uk.
Email cathy@cookeoptics.com for enquires or leave a comment!

R&R

R&R is a short film about vengeance and the ever repeating cycle of crime, written, directed and shot by Rodrigo Prieto, ASC, AMC on ZEISS Supreme Prime Radiance lenses. See the BTS here: https://youtu.be/Q5q0fN6H9a4

Learn more about ZEISS Supreme Prime Radiance: www.zeiss.com/cine/radiance

PolarPro BASECAMP – Unboxing, Setup, and First Impressions!

Polar Pro is making a move into the Filmmaking world with a brand new product The Basecamp. An ultra-lightweight matte box, with a variable ND filter! Throughout this, I go through a full unboxing of the VD Kit a quick setup and first impressions.

PolarPro Basecamp VND Kit: http://bit.ly/2q4PX3G

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Indie Filmmaking: How to Light Car Scenes

Stay tuned to the end for a chance to win a prize!

Shooting scenes in cars is something you will run into all the time in cinematography. Creating drama with your lighting is important no matter where the scene takes place. While there are many different ways to light the inside of a car, having to-go lighting techniques that you can use every time will help you be efficient when shooting. Today, director of photography Laura Odermatt walks us through how to shoot a night interior car scene, in the style of suspense thriller scene.

In this video, Laura shows us the steps she takes when shooting a night interior car scene. First, she shoots through the front of the car to see the man sitting in the driver’s seat. This angle also allows us to see through the car at what is happening behind him. Next, she shoots a reverse angle of the first shot to see the man’s point of view looking through the rear view mirror. This adds a sense of suspenseful voyeurism to the scene. Lastly, she shoots a profile shot of the man in the car. This way we can see the other car pass him on the side through the opposite window.

The main techniques we will be discussing today are bouncing light to create eye lights, adding light from the dash, and rolling down windows to reduce reflections. Bouncing light to create eye lights refers to the technique of bouncing light off of the rear view mirror in order to get more light on the subject’s face. This is useful because in the tight space inside of cars, it can be difficult to add a good eye light. Adding light from the dash refers to placing a light on the dash of the car to fill in the subject’s face with more light. Often times the dash of a car has places to easily set a small light. Rolling down the windows to reduce reflections is helpful because when you’re shooting through a window of a car you get a lot of reflections. An easy way to get rid of those is to roll down the windows, if you can.

Ultimately, as filmmakers we are trying to tell human stories. Learning how to light faces in any situation is incredibly important for telling those stories. Different lighting styles and directions will create different feelings and emotions. It is also important to be able to embrace different sources or motivations for your key lights, as they might lead you to lighting designs that you would never have thought of. There is almost always a way to make the light falling on someone’s face more flattering. But it is also essential to be able to embrace the type of lighting that will complement the talent’s face and best tell the story.

Connect with Laura: https://www.instagram.com/odrmtt/
Connect with Olivia: https://www.instagram.com/olivia.treece/
Connect with Jason: https://www.instagram.com/faydakin/
Connect with Valentina: https://www.instagram.com/valentina.vee/

Want more free lighting and cinematography tutorials? Subscribe to us so you never miss an episode: https://goo.gl/QwazdM

🎥How to Light the Cinematic Film Look!

🎥Free Cinematography Lessons From Experts!
https://www.youtube.com/playlist?list…

🎥Subscribe to Aputure:
https://www.youtube.com/aputurephoto
https://www.facebook.com/aputure
https://www.instagram.com/aputuretech

🎥Connect with the A-Team!
Ted – https://instagram.com/aputure_ted
Benny – https://instagram.com/aputure_benny

🎥GET APUTURE GEAR:

Home

🎥MERCH:
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Summary:
Aputure’s YouTube channel provides free high-quality cinematography, lighting, and filmmaking educational content to help you take your film projects to the next level.

Metamorphosis

A short film inspired by the studies of Swiss psychiatrist Carl Gustav Jung (1875-1961), Director Aki Mizutani has written a script of a character going through the processes of Metamorphosis. The opening sequence illustrates the character’s confined inner conflicts. She then tries to break through her own discord, finds her past (childhood memories), affirms, and finally finds herself in bright light (liberation).
DP Takuro Ishizaka and his team backlit the character (Dancer: Kaka) through all sequences, but used many different colors and effects to hint the changes of the character’s inner self. The Supreme Prime Radiance proved its optical characters to be perfectly suiting the Director’s script and DP’s image on this project. See the BTS here: https://youtu.be/O6Oql-zPe38

CINEMATOGRAPHER
Takuro Ishizaka, JSC

SHOT ON
ZEISS Supreme Prime Radiance

Learn more about ZEISS Supreme Prime Radiance: www.zeiss.com/cine/radiance

Metamorphosis – Behind the Scenes with Takuro Ishizaka, JSC

Cinematographer Takuro Ishizaka, JSC talks about the making of “Metamorphosis”, a short film inspired by the studies of Swiss psychiatrist Carl Gustav Jung (1875-1961) and how ZEISS Supreme Prime Radiance lenses helped him and director Aki Mizutani to realize their project. See “Metamorphosis” here: https://youtu.be/76p8FAfgoxQ

Learn more about ZEISS Supreme Prime Radiance: http://www.zeiss.com/cine/radiance

R&R – Behind the Scenes with Rodrigo Prieto, ASC, AMC

Cinematographer Rodrigo Prieto ASC, AMC talks about the inseparability of storytelling and look and how ZEISS Supreme Prime Radiance lenses helped him to realize his short film R&R. See R&R here on our ZEISS YouTube channel after the world premiere at Camerimage 2019 on November 11.

Learn more about ZEISS Supreme Prime Radiance: www.zeiss.com/cine/radiance

ZCam E2C – FULL Camera Overview and SETUP

In this video, I cover the full exterior build and menus of the Z Cam E2C and talk about some of the physical differences between this one and the Z Cam E2.

**Prores is available in the E2C over USBC to an SSD

Try this camera out: http://bit.ly/2r18fmL

Other Videos:
Z Cam E2C – Low Light and Exposure test: https://youtu.be/TCEbX4et1Go

Z Cam – Things you need to know!: Coming soon

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Comparison: ZEISS Supreme Prime Radiance and ZEISS Supreme Prime

In this film we take a side-by-side look at the flaring behavior of the new ZEISS Supreme Radiance lenses in comparison to regular ZEISS Supreme Prime lenses under different lighting situations. Shot by cinematographer Takuro Ishizaka (JSC) on SONY Venice.

Learn more about ZEISS Supreme Prime Radiance: http://www.zeiss.com/cine/radiance

Behind the Scenes – FILM RIOT “There Comes a Knocking”

A couple months ago I took a quick weekend trip to Texas to be on the set of Ryan Connolly’s new horror short film “There Comes a Knocking” This is a behind the scenes look at that film and the crew that pulled it together.

Watch this first if you haven’t seen it already ► http://bit.ly/2PQgUm8

Film Riots own BTS ► http://bit.ly/2JTqDVc

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Chemist – Artist – Architect | Behind the Scenes

The movie “Chemist – Artist – Architect” narrates a passion. Christoph Filsers‘ inner voice describes something intimate. “Chemist” stands for the procedure coloring the hair, “Artist” refers to the imagination of styling a coiffure matching the personality and “Architect” describes the symmetry during the hair cutting which must fit precisely. If the three merge into one, trust can last a life-time.

Watch the final video here: vimeo.com/213062221

production & camera -adi geisegger adigeisegger.com
hairstylist & text – christoph filser bei-freunden.com
music – johannes winkler johnwinkler.de
narrator – edo van bremen
light – robert eder filmlicht.at
model – lisa heckl
highspeed operator – martin faltermeier
bts camera & assistant valentin gregor walther
camera assistant – helmut lenhof & lothar cornely
light assistant – lothar cornely
edit – adi geisegger
guitar – ryan folge
violin – polina bolotova
make up – mina bebic’
colour grading – erich schellhorn & adi geisegger
motion grafics – artfabrik artfabrik.at
technical support – christoph casenave
set photography – andreas bogenschütz
set photography coordination – isabel winter & pascal widrinski
data transfer – maximilian klampfl
many thanks to the salon bei freunden bei-freunden.com
Rental Service Ludwig – Alexander Nowotny

Production Facts:
Lenses: ZEISS Compact Primes CP 3 15mm, 18mm, 21mm, 35mm, 50mm, 85mm, 100mm, 135mm
Camera: ARRI Alexa Mini, Phantom Flex Highspeed Camera
Picture Profile: Arri Log C and Phantom RAW
Codecs: Arri Prores 4444 XQ and Phantom Flex RAW
Grading: DaVinci Resolve
Edit Premiere Pro CC
Shooting time: 1 day
DOP: Adi Geisegger (vimeo.com/adigeisegger)
More info: zeiss.com/cine/cp3

ZEISS Cine Lenses – Demo Reel (15-30mm)

ZEISS Cine Ambassador Matthew Allard shot a Demo Reel with a demo Cinema Zoom CZ.2 15-30mm.
He captured this reel with a SONY F55 CineAlta 4K within two days on eight different locations in Tokyo. Editing and grading was done by Ben Allan (ACS).

Triton Blue – a short documentary of aircraft engineers

Expect the unexpected – or be ready for anything – is perhaps one of the most needed talents to shoot documentaries. Director & DP Hiro Matsuzaki took this challenge, and spent 24 hours straight to shoot a short documentary/corporate film for new ZEISS Lightweight Zoom LWZ.3 21-100mm/T2.9-3.9 T*, under uncontrollable weather, lighting conditions, time pressure, and limited staff.

www.zeiss.com/cine

Behind the Scenes of Zburbs with ZEISS Compact Zoom CZ.2 and the Pansonic LT

Zburbs is a new Zombie Comedy feature film, lenses by Cinematographer Christian Sebaldt, ASC. Shot on the brand new Panasonic LT, with Zeiss CZ.2 Compact Zoom and CP.2 Prime lenses, this film had a quick schedule and the crew had to move fast to keep up with Director Greg Zekowski.

Learn more ▹ www.zeiss.com/cine
Be part of our community ▹ zeiss.com/cine/social

Through the Thick – Preserving the Rhino in South Africa

DOP Nino Leitner used exclusively ZEISS lenses for the shoot, and for most of the real-action shots the new ZEISS Lightweight Zoom LWZ.3 21-100mm/T2.9-3.9 T* (zeiss.com/cine/lwz3).

Learn more ▹ www.zeiss.com/cine
Be part of our community ▹ zeiss.com/cine/social

Making-of “Through the Thick” (BTS)

“Through the Thick – Preserving the Rhino in South Africa” is a wildlife documentary by DOP Nino Leitner (https://www.youtube.com/user/thenino). He exclusively used ZEISS lenses for the shoot, and for most of the real-action shots the new ZEISS Lightweight Zoom LWZ.3 21-100mm/T2.9-3.9 T* (zeiss.com/cine/lwz3). In this BTS video, Nino tells about the filming, the challenges and how ZEISS lenses helped him to overcome them.

Learn more ▹ www.zeiss.com/cine
Be part of our community ▹ zeiss.com/cine/social