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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 :)

"WILDERNESS" SHOT ON DRAGON INFRARED OLPF

Thank you everybody for the kind words. Its much appreciated, really.

I have learned a lot on this forum and to see kind words from people who love and master the art is a great encouragement. Need to finish one or two bigger Infra-red projects that I am working on for quite some time already.

David, yes you need to use IR Pass Filters.
 
Beautiful stuff.

I've got a few questions:

In your film "THE DARK NIGHT OF THE SOUL", were those beach scenes actually shot at night, and if so, was there any additional lighting, or strictly moonlight?


Again, great footage!
 
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ivan friedman said:
Thank you everybody for the kind words. Its much appreciated, really.

I have learned a lot on this forum and to see kind words from people who love and master the art is a great encouragement. Need to finish one or two bigger Infra-red projects that I am working on for quite some time already.

David, yes you need to use IR Pass Filters.
Click to expand...

I'm relatively new to IR Filming. With a dragon, I could just get the OLPF from Kippertie, and then would i still need to add an IR filter?
did you set the dragon to record B/W or did you do that in post? were you able to see the correct exposure while you filmed?

thanks in advance!
 
With our full spectrum OLPF you will need to use IR or coloured filtration in front of the lens for many scenes. We have an IR only filter which is due in shortly (a touch delayed!) which simplifies the IR monochrome look, but removes the flexibility of doing colour/IR mixes.

Dialing in a look in camera to shoot with is trivial enough. Latest firmware provides some additional colour/look tools that suit false colour nicely.
 
So I have a request, if somebody wouldn't mind. Could somebody post an .R3D still, preferably from a night shot, detailing what they were using? (Kippertie's Full-spectrum Zero Lowpass Filter vs their IR Zero Lowpass Filter vs RED's IR OLPF, additional IR filters, lights, etc.) I'm very curious to see the differences in daytime and nighttime footage from this setup, and I'm finding it hard to rent in my area. Would love to play around with it a little in redcine before making the leap.

Thanks!
 
John Marchant said:
With our full spectrum OLPF you will need to use IR or coloured filtration in front of the lens for many scenes. We have an IR only filter which is due in shortly (a touch delayed!) which simplifies the IR monochrome look, but removes the flexibility of doing colour/IR mixes.

Dialing in a look in camera to shoot with is trivial enough. Latest firmware provides some additional colour/look tools that suit false colour nicely.
Click to expand...

Any advantages of the IR/BW olpf? Ie any drawbacks to using current IR olpf with IR filtration to make it go bw? Besides usual reflections from using glass filter? Ie any big loss of light from glass filter that would maybe be avoided with custom IR/BW olpf?
 
Nick Morrison said:
Any advantages of the IR/BW olpf? Ie any drawbacks to using current IR olpf with IR filtration to make it go bw? Besides usual reflections from using glass filter? Ie any big loss of light from glass filter that would maybe be avoided with custom IR/BW olpf?
Click to expand...

Thank you guys for the nice comments

Nick if you are going black and white there will be no major differences between the two OLPF other then sharpness. Full spectrum intended for BW will be sharper and this may cause some aliasing and chromatic aberrations when used for color. No exposure differences.
 
Watching this footage fires my imagination for ways to incorporate this into my own work. Thank you for the inspiration.
 
Had a chance to spend some more time in the wild so decided to re-edit the whole piece, you can check it out here:



https://vimeo.com/125947740 Enjoy!

16927624483_a85b19d802_b.jpg
16925379894_6815e9a8f0_b.jpg
 
Thanks Meryem and Thorn :-)

Anton I used canon 16-35 and 70 200 mm. Curious to now what you call massive problems with IR and what lenses you use.
 
I used to shoot IR on my blackmagic, when I had it. I would get hotspots with some of my lenses, which is like a round circle in the middle of the frame that's about a stop brighter than everything else. Also I found flares and focus to be much harder to manage. Focus was deeper, but aperture would go soft faster, witness marks were unusable and the color channels didn't focus at the same time. It was pretty interesting. I think my lenses were Zeiss ZE series, I forget which ones had problems.

Your footage looks so sharp with no hotspots, so I was curious. Possibly the Red is another part of the equation.
 
Anton Shavlik said:
I used to shoot IR on my blackmagic, when I had it. I would get hotspots with some of my lenses, which is like a round circle in the middle of the frame that's about a stop brighter than everything else. Also I found flares and focus to be much harder to manage. Focus was deeper, but aperture would go soft faster, witness marks were unusable and the color channels didn't focus at the same time. It was pretty interesting. I think my lenses were Zeiss ZE series, I forget which ones had problems.

Your footage looks so sharp with no hotspots, so I was curious. Possibly the Red is another part of the equation.
Click to expand...

Thanks for the input Anton,

Well on my experience there are problems of flares and hotspot with a lot of lenses. I took me some time to build an IR set... not so much for tring to find the best lens, but more to experience and make myself more confident with some lenses by learning to use them for the situation they are good at in IR.. which may be drastically diffrent from normal light as you well note...
 
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