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Author Topic: Re: Recent Professional Works 2  (Read 218725 times)
fredjeang2
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« Reply #320 on: May 06, 2013, 06:40:48 AM »
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p30+, Contax, 800 watt Broncolor HMI, 1/2 stop spun, bounced into white card.



Paris a couple years ago.  re imaged for advertising this week.

IMO

BC

This is brilliant, and a divine revelation
For me as I'm looking for a similar Skintone
In motion.
I had doubts it could be too artificial but
Looking at this image, if it's nailed, as Rob
Described "porcelaine", it really looks pretty
And mysterious.

I will do another Avid tutorial on face retouching
Using only on purpose the avid available tools
And roto within the editor without any compo app.
Got a shot (CU) of an actress that has many lightning
And make-up issues. So the task will be a complete
Recovery of the face, with tracking masks etc...
And this image skintone is exactly what I want
As a final result.  

Great inspiring image. Thanks for posting.

« Last Edit: May 06, 2013, 06:50:18 AM by fredjeang2 » Logged
JoeKitchen
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« Reply #321 on: May 06, 2013, 03:10:21 PM »
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This is brilliant, and a divine revelation
For me as I'm looking for a similar Skintone
In motion.
I had doubts it could be too artificial but
Looking at this image, if it's nailed, as Rob
Described "porcelaine", it really looks pretty
And mysterious.

I will do another Avid tutorial on face retouching
Using only on purpose the avid available tools
And roto within the editor without any compo app.
Got a shot (CU) of an actress that has many lightning
And make-up issues. So the task will be a complete
Recovery of the face, with tracking masks etc...
And this image skintone is exactly what I want
As a final result.  

Great inspiring image. Thanks for posting.



As an AP, I never deal with skin tones.  How difficult is it working with skin tones in post?
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Joe Kitchen
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"Photography is one percent inspiration and ninety-nine percent moving furniture."  Arnold Newman
"Try not to be just better than your rivals and contemporaries, try to be better than yourself."  William Faulkner
JoeKitchen
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« Reply #322 on: May 06, 2013, 03:35:37 PM »
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Here's a couple from last week for a GC I work with.  He built the house 7 years ago and will be renovating the (former) owners' new house in center city Philly.  With it so neat, since they just sold it, he thought to send me out.   Grin

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Joe Kitchen
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"Photography is one percent inspiration and ninety-nine percent moving furniture."  Arnold Newman
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fredjeang2
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« Reply #323 on: May 06, 2013, 04:18:33 PM »
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As an AP, I never deal with skin tones.  How difficult is it working with skin tones in post?

Well it depends on many factors, how bad, or far from the final output the original image is.
There is a lot that can be done in post, but in fact, if the original does not stand still, very little can be done.(or very expensive)
You can train some horses to do racing, but it will not work if you take a donkee for that purpose.
So post can't replace a good set.

And, oh yeah, the MUAs...and SPECIALY the MUAs with motion...because this has big consequences on the time to have to spend on
trying to recover bad make-up.

I find that the most difficult is not specially to lite well, but to lite with a final look in mind.
And that part is none of my business-habilities so I can't comment on that.

In general, in motion, the "rule" is to shoot the flatest possible files with log, to preserve the max range so
the looks are generated in post.

Now, someone like Coot who know how to lite, may not use log but directly lite to the closest final look in mind.
You can even create a look from RedCine X and load the metadatas into the Cam and shoot with it.
The Raw image is preserved so if you're not happy with it, you can always revert and recreate as many looks as you want.
That has an advantage if you know what you are doing, but a very big downside if you don't nail it because then the
footage is not really easy to recover. Using log flat file is adding extra steps in the pipeline but more flexible and safer.

The prob shooting log, is if you have clients that don't know motion, they look at the footage and go crazy because it
looks horrible. If you are shooting motion, within motion and for motion, then people are aware and know the workflows.
So shooting flat with clients that aren't coming from motion world is a mixed bag.




« Last Edit: May 06, 2013, 04:25:18 PM by fredjeang2 » Logged
bcooter
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« Reply #324 on: May 07, 2013, 04:41:16 AM »
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Well it depends on many factors, how bad, or far from the final output the original image is.




Fred,

Thanks for the kind words Fred.

I wouldn't call myself an expert colorists on motion imagery.  I can find my way around, but motion to still is a much different animal, as you know.

This image wasn't that far from what you see.  The real difference was lighting and camera, using a digital back that sees very specific colors, rather than global and the talent isn't moving all over the set.  Also working vertical, rather than a broad horizontal makes specific lighting much easier.

The real thing that makes this work is talent selection.  Sure you can take someone with a dark tan and get the same effect, or close, but it's much better to start with a subject that has this color and tonal value to start.

Also it was shot knowing what the final effect would be.

In regards to shooting this on the REDs (which we did) it looks different.  I can be moved close to the same look, but the cameras are different, the processing is different, the framing is different.

But then again, the beautiful colors we see on the big screen have huge resource behind them.  If you look at a Peter Jackson Movie, if they want red to be accented, the sets are painted deep red and the rest of the set is muted.

If they want porcelain skin, the subject and the makeup is done in a way the colorists has and easier time doing it.

I'm not saying it can't be done, I'm just saying the better prep prior on set, the better the final results.

BTW:  If you will PM me I can sent you a few seconds of this image shot with the RED.  It will be more difficult as it's lit a little different, but it will give you some idea.

I also have this session on footage that will get closer to the look.



just let me know.

IMO

BC
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fredjeang2
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« Reply #325 on: May 07, 2013, 05:43:57 AM »
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Thanks very much James. That's very kind
Of you.
I'writting now from my mobile but will pm
You when back in the studio. I'm definatly
Interested to have a short sample because
It's going to be of great help.

You're absolutly right about the talent.
Yesterday I was in the Avid with my actress
Shot and had your image look in mind. But
I realise that both girls, your talent and my
Actress, are completly different animals. Skin
Has nothing to do, mine is blondish, etc...
In the end, in that particular actress shot,
Your skintone I like so much doesn't Match
With my actress style.

So in the end it's a all process from the casting
To the lightning and make-up that is driving
The post-production. Totaly true.

When I'll finish the tuto, I'll upload in my vimeo
Account. What's interesting is that it shows that
A lot can be done within the Avid app, without Nuke,
AF Or PS. Wich is a huge timesaver.
But it can't replace the right talent for the right
Look.

Cheers.

Ps: I think One of the strengh of the Avid is, a part from
Asset management and stability, are the tools to composite.
Honestly, its color correction is a bit weak, for secondaries,
, no LUT support (coming in the next), but the trackers
Are excelents, the keyers too. The roto tools truly usable
Etc...I discovered that they used the avid's keyer to do
The Marvel. No external app. That tells a lot. The next
Version will have an enhanced roundtripping with da-vinci resolve wich
Wich enables more than hd delivery.
(it can already be done, but not intuitive)
« Last Edit: May 07, 2013, 06:11:29 AM by fredjeang2 » Logged
Emilmedia
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« Reply #326 on: May 09, 2013, 02:32:06 PM »
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Here is a portrait i shot the other week. My third shoot with the Hassy. There was literally no budget at all for location scouting or building a set, so we took what was available. I'm happy with the result. What do youthink?

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chaosphere
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« Reply #327 on: May 09, 2013, 03:16:01 PM »
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nice portrait Emil ! What was the key light source and the lens used ?
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« Reply #328 on: May 09, 2013, 03:30:29 PM »
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nice portrait Emil ! What was the key light source and the lens used ?

I still only have the 50 mm lense. I'll be getting the 100mm next week hopefully Smiley Its a 150cm octabank on Elinchrom flashes, really like it. Not very portable unfortunately. thinking about getting the original Elinchrom ones, they are easier to carry around and set up.
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ACH DIGITAL
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« Reply #329 on: May 09, 2013, 05:30:52 PM »
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Interesting video on how Apple images are made. Still Life Studio Photography on MF.

http://youtu.be/rqC2xpCaG80

ACH
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Antonio Chagin
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« Reply #330 on: May 09, 2013, 05:50:44 PM »
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Also an interview:

http://www.theverge.com/2013/5/8/4311868/the-illusion-of-simplicity-photographer-peter-belanger-on-shooting
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Antonio Chagin
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« Reply #331 on: May 09, 2013, 10:57:46 PM »
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Interesting video on how Apple images are made. Still Life Studio Photography on MF.

You might want to re-read the article. He shoots Apple's products on a Canon 5DIII with a 24-70 Canon zoom.
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Scott Hargis
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« Reply #332 on: May 09, 2013, 11:18:15 PM »
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You might want to re-read the article. He shoots Apple's products on a Canon 5DIII with a 24-70 Canon zoom.

You might want to read the article all the way through. He's shooting Apple products with Sinar and Phase One gear.
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Chris Barrett
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« Reply #333 on: May 10, 2013, 07:00:24 AM »
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The 5DIII was for the time-lapse.  Also, does this guy actually shoot Apple's product shots or just the magazine's?  The style feels fairly different from Apple's ads.
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Chris Barrett
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« Reply #334 on: May 10, 2013, 07:02:34 AM »
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Dude, I love this, but I want the circle centered in the triangle.  I know, I know... I'm such a freak.
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ACH DIGITAL
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« Reply #335 on: May 10, 2013, 07:07:02 AM »
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The 5DIII was for the time-lapse.  Also, does this guy actually shoot Apple's product shots or just the magazine's?  The style feels fairly different from Apple's ads.

Cris in this article is all explain. He is the guy as far as the time the article was written.

http://www.theverge.com/2013/5/8/4311868/the-illusion-of-simplicity-photographer-peter-belanger-on-shooting
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Antonio Chagin
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« Reply #336 on: May 13, 2013, 03:15:18 PM »
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p30+, Contax, 800 watt Broncolor HMI, 1/2 stop spun, bounced into white card.



Paris a couple years ago.  re imaged for advertising this week.

IMO

BC

Wow
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MichaelEzra
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« Reply #337 on: May 13, 2013, 11:42:22 PM »
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Interesting coincidence:) This one is shot in 2007, but just reprocessed while trying new skin tone settings in RawTherapee

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FredBGG
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« Reply #338 on: May 14, 2013, 02:55:45 PM »
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Interesting coincidence:) This one is shot in 2007, but just reprocessed while trying new skin tone settings in RawTherapee



Michael... that is just absolutely beautiful. It's naturalness is what in my eyes makes it so beautiful with gently tonality
combined with artificial light that has all the credibility of natural light.
 
The smooth on the dress and the crisp texture in the dress reminds me of a Vemeer.

You take pictures like Miles Davis plays the trumpet.
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MichaelEzra
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« Reply #339 on: May 14, 2013, 09:57:07 PM »
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Thank you for such kind words, Fred:)
We had a very productive session with this model, I come back to it from time to time, and this image is one of my personal favorites.
She was just getting dressed and was about to leave, but I asked her to pause it for a minute:)
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