1. there is so much you can say with each image but how do you make the most out of it? we often talk about layers in a film and color is a powerful storytelling tool that can completely change the look and feel of a piece. in this tutorial we look at color in camera as we go through white balance, white shift, picture styles along with some tips and tricks on how to use them to say something with your image straight out of the camera.

    there is so much to say about color so we decided to split it up into two tutorials, in camera and in post. all footage shown in this tutorial is straight out of the camera with no post color work. check back soon for part two of the color tutorial, color in post, later this month.

    brought to you by the Canon digital learning center. check out more tutorials there at usa.canon.com/dlc

    want to learn more? we have two education workshops coming up.

    // event cinema workshops
    oct 3-4 chicago
    oct 6-7 boston
    join kevin, joe and patrick for two days of discussion and hands-on filmmaking. it’s a great place to learn about their different approaches to event cinema work and help you discover one of your own.

    // evo
    nov 14-17 san fran
    come hang with the sm crew as we share, shoot, learn and grow together about all things cinema — from the technical to the philosophical, it’s three intense days of filmmaking fun.

    the soundtrack is 'the leaves' by cars & trains, licensed through withetiquette.com

    lil'j

    # vimeo.com/28669523 Uploaded 93.8K Plays 102 Comments
  2. This was a project for my lighting class. Each shot had specific details on which to follow, which are explained in the video. In more depth, here are the ten shot assignments.

    1. A three-quarter or waist-high silhouette of 1 or 2 people perfectly exposed for the background
    with the foreground figure(s) completely dark. There should be enough distance between foreground
    and background that the spill of one area does not interfere with the other.
    2. Invert the lighting in #1, using exactly the same pose and framing with perfectly exposed
    foreground figures at 4:1 key/fill (two stops) and completely dark or just barely visible details in the
    background.
    3. A waist-high person in soft (diffused) side light, no fill light, and a specular edge light from the
    opposite side with the background as dark and unlit as possible. An incident reading of the edge light
    should be about the same f/stop as the key light if the subject has light features, or one stop brighter
    if the subject has dark features. Expose for the diffused key light.
    4. Identical pose and framing to #3 but with added light and shadow (using barn doors, or other
    shadowing material) shaping and highlighting the background (think of it as painting the background
    with light and shadow).
    5. A scene with a standing or seated person, a candle (either held by hand or on a table) seemingly
    lighting the person but actually enhanced with additional light, and a circular glow simulating the
    effect of the candlelight on the background.
    6. A person reading in bed by lamplight at midnight (implied by light, shadow, framing, ratio,
    composition, and a “practical”).
    7. A person sleeping in bed at 3 am with shadows implying moonlight coming through unseen
    foliage or blinds onto part of the scene. You may want to gel the moonlight source or the fill light
    with a blue or other color gel.
    8. A person in bed at sunrise (implied by light, shadow, color, and composition).
    9. Simulate the pose, surface tones, and light of a specific frame from a film of your choosing. If
    possible, also turn in a still image of that frame.
    10.
    Shoot an interior still with at least one person in it using whatever light sources already exist in
    the location (lamps, overhead lights, windows, etc.), but without showing any of those sources in the
    frame. Now, turn off/cover those sources and replicate, as nearly as possible, that scene using only
    artificial lighting. Also shoot wide shots of both the “natural” lighting sources and the artificial
    sources.

    Since it is available in video, instead of using gels, I white balanced off of different color swatches, for a greener look, I white balanced off of a magenta tone, blue look, orange tone, etc...

    I also lowered the blacks and raised the mids in Color, to give the video a more filmic look.

    Over all, a very fun assignment

    # vimeo.com/7087427 Uploaded 98.7K Plays 60 Comments

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