Highlight "Blooming" from THE KNICK

[Medavoym]

Speaking of all the debate about the LOW LIGHT OLPF and the upcoming LOW CON/HALATION OLPF on the Dragon...

Just saw this example from THE KNICK's last episode this past Friday...

Probably done with optical filtration in front of the lens? Low Con 1/8 or Promist 1/8?

Anyway, it looks very 35mm-like (or even, dare I say, Alexa-like). Of course, we all know it was shot on Dragon. I'd love to get a LOW CON/HALATION OLPF that does the same thing, without the need of optical filtration in front of the lens.
I hope it's coming soon!

I know some people are advocating the use of regular filters instead. But the halation above occurs naturally with 35mm film. For those people who (like myself) are after the most filmic image out of the Dragon, I think we need this "built-in" option. I know several Dragon owners who said this kind of OLPF will stay in their cameras at all times.

P.S. The image looks way softer in my screen grab than in the actual series. It looks quite diffused below, but it's not. The halation is there, though - and it's gorgeously 35mm-like.

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[Marc Wielage]

I know some people are advocating the use of regular filters instead. But the halation above occurs naturally with 35mm film.

Actually, with fast film (like 5219) and very sharp prime lenses, there isn't as much halation as you might think on film. But many, many film projects used (and still use) some kind of diffusion like a ProMist, Glimmerglass, Frost filters, Spun filters, Soft FX, you name it. I think you would definitely need diffusion for a turn of the century "1900" look. Some of it might even be added in post.

 

[Julio Quintana]

I thought Jarred said the whole series is shot wide open on Zeiss Super Speeds (I assume MK3's), which would totally create this sort of halation without filters.

 

[Julio Quintana]

Here's the tech info:

some tech FYI's -

Shot on Zeiss Superspeeds and the old RED ZOOM 50-150mm.

6K HD - 5:1 compression

Shot almost entirely at ISO 1280 for texture as a creative choice

Shot almost entirely wide open at T1.3 for cinematic depth (they often ND'd on interiors).

No DIT. No monitors on set with the exception on the 7" RED on-board for operator/ACs and only TWO 17" SONY OLED's (one for each AC to pull focus via wireless video via Teradek Bolt Pro's)