This was a very informative and useful video. I have ever used a softened filter in the Canon camera in the past, and I don't know how so many subdivisions of softened filters in cinematography. That really really really blows my mind!
I forget if you've covered it in an earlier video, but in phantom thread, PTA really went all in on lo con, shooting on film, with a variety of quirky vintage lenses AND a lo con filter. Really went nuts.
This was very informative. Personally I started out using Black Pro Mist but came to not like how much it lifts shadows. Lately I’ve been using Hollywood BlackMagic which to me tends to not raise shadows as much.
2:04 So are you saying you worked on Black Mirror or know someone who did and know for a fact that a Tiffen Glimmer Glass was used for this episode? I'm not doubting it but just want to make sure the filters who are listing up here are accurate for the scenes and not filters that would give a similar look.
Yeah he should cite some sources here. He allude to knowing people in the industry but we need to be sure the info he is putting out is intended to be accurate and not trying to replicate a look. Maybe he has access to Shotdeck that says it as well.
Thanks , as always !! and I was new to this Scatter plugin. I am wondering if anyone here has used it before and what the overall effect ? credible as physical filter or 50/50 digital physical? Thx y'all
Cool overview explanation. It would've been dope to hear from various filmmakers why they chose certain filters. I've enjoyed how you've mixed in filmmakers' voices in your other videos.
Two things that look amateurish and I see repeatedly in indie productions when overused are filters and shooting at large apertures. Both accomplish similar things by attempting to cover up the lack of set. -Filters attempt to make your footage look more cinematic which they usually don't unless know what you are doing and doing it for very specific purposes -Large apertures are used to make your footage look more cinematic(bokeh) which they usually don't unless know what you are doing and doing it for very specific purposes. Just know if you are that dude who just slaps a pro mist on without reason then it probably doesn't look as good as you think.
For the price of an expensive modern lens and a set of pro mist filters I can have several pristine vintage stills lenses that deliver the softness more subtly and organically. But, as you said, one must know what one is doing with these items aside from just making the purchase and praying. Specific intention and skill > hot gear.
Good video. NGL. I wish 75% of DPs would just stop using 1/4 Black Pro Mists. It works because it works. Its fine. But please. Try some new stuff, guys. I also am partial to Low Cons much more.
Can't stand diffusion on everything and the colors flattening out. Like real air particle created diffusion and black blacks.. high saturation and high contrast. Aka eye candy.
for the most part i hate it as well. usually a sign of lower quality productions using those modern filters unless they really know what they are doing.
I'd much rather add halation/diffusion to the highlights in Resolve to keep my options open. The only scenario I see my self creatively choosing to use an actual strong filter is for flashback sequences.
7:37 can we take a moment to ponder how UGLY many modern horror movies look today. what is the deal with the color grading in these movies like texas chainsaw masscare 2022? i noticed the trailer to the new salems lot movie is graded almost the exact same way(not quite as bad as this). modern horror is basically super clean video, with that saturated orange, ugly green like it's a saw rip off.
i can see how you could say that. Saw's signature lime color grading has gone down in the books as iconic, which i agree it is. its truly an example of creative, bold art direction in terms of ambitious color grading and i think it's beautiful in its own way and fits the movies perfectly. i think the look you marked at 7:37 also fits perfectly. im curious to see how you would change it
@@OrbitalRecordshq how would i change it? look to the past. ask yourself how would have tober hooper color grade this scene in 1974? he wouldn't have. they had color timing but they didn't go into daVinci and start dragging sliders around to make a scene look more scary i would approach color grading look closer to how we watched movies for half a century prior to the 2000's when computer color grading took over. for many decades we enjoyed luscious color films without complaint. horror movies like the original texas chainshaw, evil dead, halloween, shining, silence of the lambs all had a much more natural look to them....then computers took over and every colorist started overusing digital color grading to attempt to create atmosphere and enhance the story when in fact it rarely does that outside of very careful considerations (like the matrix). a lot of modern color grading is smoke and mirrors compensate for a subpar movie and they are using horror color grading templates which never existed for most of cinema history.
This was a very informative and useful video. I have ever used a softened filter in the Canon camera in the past, and I don't know how so many subdivisions of softened filters in cinematography. That really really really blows my mind!
I forget if you've covered it in an earlier video, but in phantom thread, PTA really went all in on lo con, shooting on film, with a variety of quirky vintage lenses AND a lo con filter. Really went nuts.
His video on Phantom Thread is one of his best
This was very informative. Personally I started out using Black Pro Mist but came to not like how much it lifts shadows. Lately I’ve been using Hollywood BlackMagic which to me tends to not raise shadows as much.
I just love the look of Christopher Robin and the Ultra Contrast filtration
2:04 So are you saying you worked on Black Mirror or know someone who did and know for a fact that a Tiffen Glimmer Glass was used for this episode? I'm not doubting it but just want to make sure the filters who are listing up here are accurate for the scenes and not filters that would give a similar look.
I've been using a 1/2 glimmer glass, as it doesn't raise the shadows, it only softens, and blooms highlights.
Earlier today I was looking at a comparison between different types of diffusion filters, I personally liked the glimmerglass.
curious where you got the info for exactly what diffusion filter was used?
Yeah he should cite some sources here. He allude to knowing people in the industry but we need to be sure the info he is putting out is intended to be accurate and not trying to replicate a look. Maybe he has access to Shotdeck that says it as well.
@@83442handle i'd imagine theyre guessing
Very interesting and information, liked this episode
Thanks , as always !! and I was new to this Scatter plugin. I am wondering if anyone here has used it before and what the overall effect ? credible as physical filter or 50/50 digital physical? Thx y'all
I'm sure it can be done well sometimes but I'm not a fan of the digital diffusion examples.
Very cool video. Thank you.
Look up Tiffen's Diffusion Triangle for a good time!
90's anime really abused the highlight bloom, this filters remembered me of that, specially on 6:43 in the right image
Love a nice cinematic bloom
Cool overview explanation. It would've been dope to hear from various filmmakers why they chose certain filters. I've enjoyed how you've mixed in filmmakers' voices in your other videos.
Great video.
I think halation is the wrong term - bloom would be better?
I love my diffusion filter. I rarely take it off 😁
I use my favorite CPL FILTER for all my shots. I need my audience to know nothing changes.
Two things that look amateurish and I see repeatedly in indie productions when overused are filters and shooting at large apertures. Both accomplish similar things by attempting to cover up the lack of set.
-Filters attempt to make your footage look more cinematic which they usually don't unless know what you are doing and doing it for very specific purposes
-Large apertures are used to make your footage look more cinematic(bokeh) which they usually don't unless know what you are doing and doing it for very specific purposes.
Just know if you are that dude who just slaps a pro mist on without reason then it probably doesn't look as good as you think.
For the price of an expensive modern lens and a set of pro mist filters I can have several pristine vintage stills lenses that deliver the softness more subtly and organically. But, as you said, one must know what one is doing with these items aside from just making the purchase and praying. Specific intention and skill > hot gear.
Good video. NGL. I wish 75% of DPs would just stop using 1/4 Black Pro Mists. It works because it works. Its fine. But please. Try some new stuff, guys. I also am partial to Low Cons much more.
Can't stand diffusion on everything and the colors flattening out.
Like real air particle created diffusion and black blacks.. high saturation and high contrast.
Aka eye candy.
Good video but if anyone really wants to refine specular difraction then we have you covered
That’s called bloom, not Halation.
Just like with Blur in games - i hate this effect.
for the most part i hate it as well. usually a sign of lower quality productions using those modern filters unless they really know what they are doing.
Agree on both fronts. Bloom is at best salvageable if you are a world class DP (War of the Worlds, Kaminski).
🫡
A vaseline lens...smear thin layer on lens.
I almost never take my 1/4 Black Mist filter off.
I'd much rather add halation/diffusion to the highlights in Resolve to keep my options open. The only scenario I see my self creatively choosing to use an actual strong filter is for flashback sequences.
7:37 can we take a moment to ponder how UGLY many modern horror movies look today. what is the deal with the color grading in these movies like texas chainsaw masscare 2022? i noticed the trailer to the new salems lot movie is graded almost the exact same way(not quite as bad as this). modern horror is basically super clean video, with that saturated orange, ugly green like it's a saw rip off.
i can see how you could say that. Saw's signature lime color grading has gone down in the books as iconic, which i agree it is. its truly an example of creative, bold art direction in terms of ambitious color grading and i think it's beautiful in its own way and fits the movies perfectly. i think the look you marked at 7:37 also fits perfectly. im curious to see how you would change it
@@OrbitalRecordshq how would i change it? look to the past. ask yourself how would have tober hooper color grade this scene in 1974? he wouldn't have. they had color timing but they didn't go into daVinci and start dragging sliders around to make a scene look more scary
i would approach color grading look closer to how we watched movies for half a century prior to the 2000's when computer color grading took over. for many decades we enjoyed luscious color films without complaint. horror movies like the original texas chainshaw, evil dead, halloween, shining, silence of the lambs all had a much more natural look to them....then computers took over and every colorist started overusing digital color grading to attempt to create atmosphere and enhance the story when in fact it rarely does that outside of very careful considerations (like the matrix). a lot of modern color grading is smoke and mirrors compensate for a subpar movie and they are using horror color grading templates which never existed for most of cinema history.