The shot, on Sun, of the guy flying the drone gives off colorized war footage vibes, maybe the combo of the film and the lens itself but I love the mood nonetheless
very informative video! just curious, how does the fpp generally color grade sun 1? does it generally involve adjusting the levels to turn the base from a brown to black and removing the blue cast to the image, etc.? thinking of processing and scanning some myself if i decide to get a roll and I just want to know how I would generally achieve these results on my own. thanks!
Sun shot (in broad sunlight) requires a lot of dialing out the blue to achieve the desired look. The SUN roll that Shane shot was color graded using Devinci Resolve (with Advanced Panels). You can see ungraded vs graded here - ruclips.net/video/x2cRRNOed7Y/видео.htmlsi=6S6jM07NyvXsh5cB&t=14
I don’t have a lot of experience with film or cinema photography, so I have a general question. A relatively modern film camera has installed a light meter that looks through the lens. So, changing out lenses, the light meter compensates for more or less light picked up by the lens automatically. For cinematography, especially in this video, how do you know the true light metering using an external meter for the given lens on the cinema camera, or whe changing the lens? Does it matter? If it’s all trial and error, that could get rather expensive.
Yeti is one of the coolest motion picture films in the FPP lineup, embrace the low ISO and you'll be handsomely rewarded with grain-free footage!
this was great!
I loved this video. I'm looking forword to getting some of this B&W stock for my Keystone-A9
Watching traveling circus for years and have seen Shane's recent work with film and now FPP! Awesome!!
The shot, on Sun, of the guy flying the drone gives off colorized war footage vibes, maybe the combo of the film and the lens itself but I love the mood nonetheless
Awesome footy. I want to try FPP Sun now. Very cool look.
very informative video! just curious, how does the fpp generally color grade sun 1? does it generally involve adjusting the levels to turn the base from a brown to black and removing the blue cast to the image, etc.? thinking of processing and scanning some myself if i decide to get a roll and I just want to know how I would generally achieve these results on my own. thanks!
Sun shot (in broad sunlight) requires a lot of dialing out the blue to achieve the desired look. The SUN roll that Shane shot was color graded using Devinci Resolve (with Advanced Panels). You can see ungraded vs graded here - ruclips.net/video/x2cRRNOed7Y/видео.htmlsi=6S6jM07NyvXsh5cB&t=14
I don’t have a lot of experience with film or cinema photography, so I have a general question.
A relatively modern film camera has installed a light meter that looks through the lens. So, changing out lenses, the light meter compensates for more or less light picked up by the lens automatically.
For cinematography, especially in this video, how do you know the true light metering using an external meter for the given lens on the cinema camera, or whe changing the lens? Does it matter?
If it’s all trial and error, that could get rather expensive.