Hollywood Gaffer explains Lighting Filters and Diffusion || Julian White
ฝัง
- เผยแพร่เมื่อ 25 มี.ค. 2020
- Following his previous COTV Masterclass 'Deconstructing Film Lighting' we welcome gaffer Julian White back to the channel. In this episode, he examines how different types of diffusion (silk, cloth, plastic) influence lighting decisions on a film set. He explains how these different sources of diffusion and light effect colour temperature and what he does to work with this.
---
Cooke Optics TV
www.cookeoptics.tv
Website www.cookeoptics.com
Facebook / cookeoptics
Twitter / cooke_optics
Instagram / cookeoptics
Linkedin: / 2831810
Thank you to the British Society of Cinematographers (BSC). www.bscine.com/
Filmed with a Sony FS5 and Cooke Mini S4/i Lenses.
Produced by ImageNova. www.imagenova.co.uk.
Email cathy@cookeoptics.com for enquires or leave a comment! - ภาพยนตร์และแอนิเมชัน
Imagine the pressure on the guy lighting this interview
true!!!!!!!!!!!
a bit over exposed
lol
agreed
lol, that was genuinely funny.
Hahaha, so true. Amazing comment.
These are great. I could easily watch a 45 min long video of Julian White deconstructing film lighting
Loved the Lee Filter diffusion cloth overview at the beginning. Very interesting.
Thank you Cooke! You always deliver with awesome content! Julian is a natural teacher. Such a intelligent and cool guy!
Such a great seamless explanation of a beautiful craft!
Wonderful masterclass - thanks for sharing this!
I love these videos! Please keep making them. Lighting is always the best!
Love these interviews!
Amazing interview and content. I love this channel so much!
Gaffer's are an artist by themselves
CTS - this was new to me. Thank you sir and channel
Love the episode. Moonlight is blue because night scenes are lit for 32k practicals, making the moonlight blue by comparison since it is a reflection of daylight.
Many thanks for sharing!
This was a really good video.
I have growing pet peeve with the tendencies to over light night scenes. I really like it when DP's allow darkness and shadows to exist and occupy a large part of the scene. But most want all the background and other areas of the scene to be awash in light as well and it looks very unnatural.
Very helpful thank you for this. My only concern is the timing between this and the last video. A year for the follow up is a long time
thank you very much,don't let him go !
I agree with his school of thought & approach.
I'm guessing that night / moonlight was commonly blue in early color-era films because people's eyes were used to being adjusted to a house full of incandescent light bulbs, which are essentially electrical candles, and very warm / orange looking. Those incandescent bulbs were warmer than tungsten halogen, florescent, and LED lights. This means moonlight did seem much bluer in comparison. Also, it's a stylistic way to differentiate between day and night. Older dramas often seem to be lower key and more contrasty than modern ones, and the blue light definitely helps distinguish the night scenes from other daytime scenes with similar lighting. Also, with black & white being the norm for so long, emphasizing the color in an essentially greyscale night scene likely looked more appealing and interesting. I'm still a fan of the bluer moonlight. Too many DPs have lost stylization and go for "clean and accurate." Not my cup of tea. Emphasize the emotion of the film with style, including unique color, and the viewer gets immersed deeper into the world of the film. (I guess DPs use colorists to do that part now. This is also a newer phenomenon.) Tastes and trends will continue to evolve. Do you follow trends or set them?
He said the rag trade in LA, but I'm pretty sure he meant The Rag Place, if anyone was curious.
There's also a Rag Place in ATL at Pinewood Studios just an FYI if anyones on the east coast
I was totally looking that up wondering what he was talking about lol
This guy is no BS, at all. Damn 👏
May you take a look at the subtitles (caption) please? I don`t speak english very well to understand exactly what he are sayng... the automatic caption ins`t working well.
How does one go about getting "grey moonlight"?
Is the 1/4 CTS going in over the top of the white balance or is the white balance happening after the 1/4 CTS has been added? Anyone have an i formed answer? Thanks
Gaffers are cool.
Where can I find an online Masterclass for this??
I dont think there is one. Try "thewanderingdp" that's a really useful source
Coolest guy ever
so knowledgeable
I’m a baby to all of film making. I do actually use tissues for noise muffling and light diffusion lmao
Seeing experienced people be frank and not hoity-toity about it. Saying things like “use what works” and “your eyes really can’t tell the difference” makes film making seem much more approachable and less serious
Malcolm McDowell knows to much bout lights!
The moon is reflecting daylight from the sun and if you put that in contrast to tungsten light yes moonlight is blue
did he say CTS on tungsten not daylight?? warm to warmer?
Either way, if you set your WB to the temp of the lights, you are effectively neutralizing the source, so the gel is what you will see in the end.
Does anyone know the movie on 4:19?
To Catch a Thief - Alfred Hitchcock
These short videos are great. Shouldn't forget that the final colour and lighting will be the result of the colourist though.
no its not .
@@Imbahi If you don't have one then sure :)
And then they add a LUT in post.
look at those repurposed evian water bottles 🤓😎👍🏽
It's funny, the point that he makes about moonlight not being blue, but but being used to depict a moonlit night in Hollywood movies in a certain period. I suddenly remembered the kids British cartoon of the early 80's called 'Jamie And The Magic Torch'; you can find the intro/outro to the cartoon on TH-cam. The intro and outro were depicted as night time and I remembered it being somewhat Blue. I just went to find it, and it IS blue, really, really blue. The house lights viewed from the street are all some shade of yellow, but anything outside, lit by moonlight is some shade of blue. Fascinating.
th-cam.com/video/06NHLaSTjOs/w-d-xo.html
Referring to using blue light for the moon, he states, "I wonder who thought of that." Anecdotally people just copy famous people. Every "TH-camr/FilmMakers" videos and studios all look the same. People just mimick what a succesful person does rather than trying their own stretch of fate. It really does get boring after awhile. But people are sheeple.
I’m calling BS on that “moonlight isn’t blue” thing. Sure it ain’t as blue as it is in those movies form the 80s and 90s but I’ve been having a lot of direct moon light the last couple of month especially during full moon and I kept thinking two things to myself. One: well that’s a bit blue isn’t it? And two: damn that’s bright, I wonder if I’d be able to get an exposure in that light with a fast enough lens and a high enough ASA without having the image be just noise.
Of course moonlight isn’t full on blue but the light still has to go through the atmosphere and at the angle at which it does it comes out having a blue hue.
I had wanted to ask this same question when I heard him say moon light isn't blue, can we have a precise answer on what color is the moonlight?
Maybe I remember the next time it’s so extreme and measure it. But I think it’s stronger in the winter where I life.
th-cam.com/video/s-aepAezfco/w-d-xo.html
I know the video. The Pocket 4K is rubbish beyond 3200 ASA. And when you’ve already got a modded PL mount Noctilux, why don’t you get a PL to MFT speed booster for an extra stop of light. That plus the GH5s at 4000ASA should give you maximum low light performance.
The interesting thing about that statement as well is that most house hold practical sources are going to be 2800K. So when contrasted with the moon outside it's going to appear if anything way cooler instead of neutral grey. I think going for a cooler moon gag just looks better than a flat white.
Didn't understand much.
Watch It again 😊
Crazy Rich Asians has some of the worst lighting I’ve ever seen. Just harsh light shining on the backs of people’s heads, and all these great looking actors look sick and sweaty.
This would be a lot more credible if the lighting were good.