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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

feature shot on Scarlet-X limited theatrical release

Very good. I like the tone. Great job!
 
thanks everyone!

Matthew Scott said:
Awesome work man, would love to learn more about how it was made :)
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Matthew,
We shot 3KHD for almost everything, and 4KHD for the establishing shots and wide shots.
Lenses were: rokinon prime set + sigma 50/1.4, leica R 135/2.8.
RC3, RG3, 400-800 ISO for the most part, night scenes 1250-1600 ISO.

CC was done at the awesome Local Hero Post in Santa Monica, CA.

The main character is a photographer that only shoots with an Olympus Pen F dual-frame camera, so all his photographs are split-screens. The half-frames are basically half of a 35mm negative, so a 1.5x crop if you will. The most popular lens for them was a 38/1.8, so I tried to stick with the rokinon 35 for all of our masters/establishings/b-roll.

The character is trying to juxtapose 2 pictures in 1 frame, telling a story with 2 shots. So, in his life he's looking for the person that fills the other side of his frame.
 
Nice work, from an across the pond perspective here in the UK I think you've nailed the American indie romantic drama look. :)

Any thoughts, insights you gained from the post-production and especially from the online edit? (I ask for two reasons, 1 is that I'm about to grade an indie Red feature, the other is that I think that DoP's are often not involved enough in the grade).
 
Will Steer said:
Nice work, from an across the pond perspective here in the UK I think you've nailed the American indie romantic drama look. :)

Any thoughts, insights you gained from the post-production and especially from the online edit? (I ask for two reasons, 1 is that I'm about to grade an indie Red feature, the other is that I think that DoP's are often not involved enough in the grade).
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Thanks Will. We were definitely making an indie movie in the South, so I'm glad it comes across that way! As for CC on features, I've been on both ends of the spectrum. I've shot ones like Home, James where I had over a week of time in a DI suite. On other features, I've been told "hey we finished color on the movie and it's already been delivered!" Needless to say, the 1st way is much more preferable. Going into CC, you definitely have to game plan, time management is important. Start with the global/overall look ideas that tell the story first, and leave all the nit-picky little fixes that bother you but nobody else will see at the end.

One other important note, trust your colorist and give him/her the room to do the work. Once you've established your keyframe looks for the movie, let them fill in the blanks. I hate being micro-managed on-set, I'm sure colorists hate being micro-managed in the suite.

Saumene Mehrdady said:
May I ask why? Seems like an odd resolution
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Deciding to shoot 3K was part of the style of the movie. I had dreamt of shooting this movie on super16, but we really couldn't pull that off. I wanted to shoot wide open without excessively shallow dof, a softer image without using filtration, and grain/noise/texture.
 
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