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LUT was designed in a 4 step process and is not a preset.

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When considering the lighting choices for the family house, taking account for both the time of day and the atmosphere the director aimed to reflect was what led to my ultimate decision.
Using the KinoFlo Freestyles allow for adaptions and compensations to be made to the daylight style (around 5000 kelvins) that was desired. The LED lights also mean that the set will be made more comfortable as using tungsten lights in a small room would create ever rising heat making the cast and crew feel unnecessarily uncomfortable.
The Blind Spot lights have been selected so as to have the capabilities to specifically highlight either a certain person or prop. This means the wider shots can have the same value of highlights and shadows as the close ups and depth can be added easily in the majority of key scenes.

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Colour is being used throughout the whole film to resemble how Kai is reacting to each situation. In the beginning scenes, as we are introduced to the characters and Kai returns to a familiar yet distorted location. The colours overall are balanced whilst being harshly stark and there is a coolness to the overall tone suggesting the environment is not quite as comfortable as the mise-en-scene presents.
As Kai begins to interact with their Brother and Mother the tones begin to warm up. This group of shots are at night which allows for warmer lighting to be used, most notably a candle in an argument scene. I plan on creating overly warm lighting to create a sense of forced comfort and rising tension.
Introduced in the penultimate scene, once the tensions have been significantly reduced the colour and lighting shift to a far more natural tones of green and blue. Not only influenced by the exterior shots but the softening of the relationships between the character.

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My decision on camera equipment is derived from research into the visual departments of various film and media that produced similar content to my desired style. First, looking at "The end of the f***ing world" and the decision to use the RED Weapon 8K S35 with the Helium sensor influenced by their "americana" stylistic choice. The deep contrast look is something I wanted to incorporate into the first few scenes of the film in collaboration with the desaturated tonal choices. "The end of the f***ing world" is a deeply character centric narrative and reflects this in its lens choice and aspect ratio, consistently creating the effect of integrating the audience into the character's narrative. A decision that has very much influenced my visual inspiration for Good Grief.

However, the camera department for "moonlight" brought in the heaviest influences into the visual capsure of this film. Moonlights starkness yet saturation reflected impeccably my vision of the films grading and initial appearance. The ARRI Alexa was the camera of choice for the 2016 Oscar winner and due to the cameras extensive visual prowess thus resulted in my final decision to use the Alexa.

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14/24/35/50/85 mm

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Focus will be used to show the quality of the connection between the characters.

In the beginning Kai and Peter’s relationship doesn’t follow and both of them are unsure about how to treat each other. To visualise this I will use the split field diopter so as both siblings are starkly in focus but very clearly lacking ability to connect to the other.

This is contrasted by Peter and Cheryl’s relationship which is flowing and comfortable. This shall be shown in a mirroring scene set up but as the characters converse, focus will pull to each character in turn, resembling the familiar dynamic between them.

As a resolution to this in the penultimate scene a similar set up will involve the siblings, symbolising the narratives character development.

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The XEEN lenses felt like the obvious choice for this project due to not only there adaptability and high speed aperture but because of the look and style they create. This combined with Arri logC can create a truly beautiful look.
I have a preference of using prime lens over zoom in shorter films as I feel they keep up the pace required and provide a more intimate look for each shot.
My lens choice stays almost solely in the range of 35mm to the 85mm with the occasional dip down to the 24mm. this decision came from wanting to visually reflect the claustrophobic environment of the family home as well as providing an intimate connection between the characters and the spectator.

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By Adrian Pennington

Content in 8K UHD won't be transmitting or streaming its way to a screen anytime soon, but the ultra-high-resolution format is already making its mark in production and post. Remarkably, it is high-end TV drama, rather than feature films, that is leading the way. The End of The F***ing World is the latest series to pioneer a workflow that gives its filmmakers a creative edge.

Adapted from the award-winning graphic novels of Charles Forsman, the dark comedy is an eight-part co-production between Netflix and UK broadcaster Channel 4. The series invites viewers into the confused lives of teen outsiders James (Alex Lawther) and Alyssa (Jessica Barden), as they decide to escape from their families and embark on a road trip to find Alyssa's estranged father.

Executive producer and director Jonathan Entwistle and cinematographer Justin Brown were looking for something special stylistically to bring the chilling yet humorous tale to life. With Netflix specifying a 4K deliverable, the first critical choice was to use 8K as the dominant format. Brown selected the Red Weapon 8K S35 with the Helium sensor.

In parallel, the filmmakers turned to colorist Toby Tomkins, co-founder of East London grading and finishing boutique studio Cheat, to devise a look and a workflow that would maximize the rich, detailed color, as well as the light information from the Red rushes.

"I've worked with Justin for about 10 years, since film school," explains Tomkins. "Four years ago he shot the pilot for The End of The F***ing World with Jon, which is how I first became involved with the show. Because we'd worked together for so long, I kind of already knew what type of thing they were looking for. Justin shot tests on the Red Weapon, and our first job was to create a 3D LUT for the on-set team to refer to throughout shooting."

Expert at grading commercials, and with feature-length narrative Sixteen (also shot by Justin Brown) under his belt, this was Tomkins' first responsibility for an episodic TV drama, and he relished the challenge. "From the beginning, we knew we wanted to work completely RAW at 7K/8K the whole way through and final output at 4K," he explains. "We conformed to the R3D rushes, which were stored on our SSD NAS. This delivered 10Gbps bandwidth to the suite."

With just 10 days to grade all the episodes, Tomkins needed to develop a rich "Americana" look that would not only complement the dark narrative but would also work across a range of locations and timescales.

"We wanted the show to have richness and a denseness to it, with skin tones almost a leathery red, adding some warmth to the characters," he says. "Despite being shot at British locations - with British weather - we wanted to emulate something filmic and American in style. To do this we wanted quite a dense film print look, using skin tones you would find on celluloid film and a shadow and highlight roll-off that you would find in films, as opposed to British TV."

Cheat used its proprietary film emulation to create the look. With virtually the whole series shot in 8K, the Cheat team invested in a Quad GPU Linux Resolve workstation, with dual Xeon processors, to handle the additional processing requirements once in the DaVinci Resolve finishing suite.

"The creative benefits of working in 8K from the Red RAW images are huge," says Tomkins. "The workstation gave us the ability to use post-shoot exposure and color temperature settings to photorealistically adjust and match shots and, consequently, more freedom to focus on the finer details of the grade.

"At 8K the noise was so fine in size that we could push the image further. It also let us get cleaner keys due to the over-sample, better tracking, and access to high-frequency detail that we could choose to change or adapt as necessary for texture."

Cheat had to conform more than 50 days of rushes and 100TBs of 7K and 8K RAW material spread across 40 drives, a process that was completed by Cheat junior colorist Caroline Morin in Resolve.

"After the first episode, the series becomes a road movie, so almost each new scene is a new location and lighting setup," Tomkins explains. "I tried to approach each episode as though it was its own short film and to establish a range of material and emotion for each scene and character, while also trying to maintain a consistent look that flowed throughout the series."

Tomkins primarily adjusted the RAW settings of the material in Resolve and used lift, gamma and gain to adjust the look depending on the lighting ratios and mood of the scenes. "It's very easy to talk about workflow, tools and approach, but the real magic comes from creative discussions and experimentation with the director and cinematographer. This process was especially wonderful on this show because we had all worked together several times before and had developed a short hand for our creative discussion.

"The boundaries are changing," he adds. "The creative looks that you get to work and play with are so much stronger on television now than they ever used to be."

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Creating the look for Netflix's The End of the F***ing World

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By Adrian Pennington Content in 8K UHD won't be transmitting or streaming its way to a screen anytime soon, but the ultra-high-resolution format is already making its mark in production and post. Remarkably, it is high-end TV drama, rather than feature films, that is leading the way.

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Prices taken from www.mediadoghire.com are an estimation. Kit will be hired from the CCI Faculty Loan Store at The University of Portsmouth.

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Copy of IWWV Equipment rental cost - Sheet1

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Format - ProRes
Resolution - 1920X1080 HD
FPS - 25fps
Shutter - 180 degrees / 1/50 second
EI - 800
Media card format - SXS
color/gamma/internal -LOG C

color/gamma/rec OUT - REC 709

color/gamma/mon OUT - REC 709

color/gamma/evf - REC 709

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https://nofilmschool.com/camera-lens-choice

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How do you choose the right lens for the scene? Let's find out.

When you're planning to shoot so much goes into the planning. Cinematography has to look great, tell the story, and not be too overbearing. It's not just about the camera you pick to shoot on, but also the lenses.

Lens choice is a fundamental decision made when shooting a film. Focal length can change a shot or the entire mood of a movie. By going over the basics of lenses, we can learn the psychological impact they can have on how an audience interprets a story.

Check out this video from In Depth Cine and let's talk after the jump!

Why Lens Choice Matters for Cinematographers

Have you ever been watching a movie and felt like the visuals were mirroring the way you were feeling inside, or maybe they were influencing you? Lense choice is the cinematographer's secret weapon.

Choosing the right one sucks you into the movie.

Choosing the wrong one can leave you lost in the sauce.

Lenses are classified by a few things:

There are two kinds of lenses:

Zoom
allow the operator to alter the focal length

Let's go into a little more detail when it comes to the basic lenses.

Focal Length

This is a number associated with the optical power, or how magnified a lens can be. I wanted to go over why cinematographers choose certain lenses as well.

Focal length: Full-frame around 24-40mm; APS-C 15-24mm; Four-thirds 10-17mm

When you stay wide, you get more than meets the eye. you can see everything happening in the frame.

Focal length: Full-frame around 50mm; APS-C around 35mm; Four-thirds 20-25mm

Standard lenses are equal to the human eye. Nothing exaggerated.

Medium telephoto or 'portrait' lens

Focal length: Full-frame around 85-100mm; APS-C around 50-60mm; Four-thirds 35-50mm

This places the focus on the character and blurs out the background. This isolates the subject.

Telephoto lens

Focal length: Full-frame, 135mm and above. APS-C 85mm and above. Four-thirds, 60 and above

The higher the focal length, the more isolated the characters will feel.

Focal length: Full-frame less than 24mm; APS-C less than 16mm; Four-thirds less than 10mm

Going ultrawide gives us even more than a human can naturally see, expanding our point of view and giving us an understanding of distance.

So what did we learn?

Generally speaking, we use wider lenses for wider shots and so on. But rules are made to be broken. Many cinematographers use the basic knowledge of the lenses above and manipulate them for the story.

What are some of your favorite lenses? And some of your favorite cinematographers breaking the rules?

Let us know in the comments.

In Quentin Tarantino's latest wonderfully written piece for the New Beverly blog, he covers the legacy of Peter Bogdanovich, the influence of John Ford, the impact of films like Paper Moon, The Grapes of Wrath, and Last Picture Show. Along the way, he takes a few shots at Ford.

Are you curious about split diopters? In this post, we break down just how you can use them even as a more novice filmmaker!

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Why Lens Choice Matters for Cinematographers

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How do you choose the right lens for the scene? Let's find out. When you're planning to shoot so much goes into the planning. Cinematography has to look great, tell the story, and not be too overbearing. It's not just about the camera you pick to shoot on, but also the lenses.

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https://www.premiumbeat.com/blog/inside-the-arri-alexa-65/

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Cover image via

In which we take a look at the beautiful ARRI Alexa 65 to see what makes this dynamic camera such a cinematic powerhouse.

The ARRI Alexa 65 has shot some of the best films in recent history, like and The Revenant. Personally, I think one of the most visually striking films in recent memory is also a result of the ARRI Alexa 65 - . While this camera may be a little overclocked for low-budget filmmaking, the cinematography it yields is inspirational to us all.

Sensor

To put it lightly, this sensor is huge. It offers an image area larger than a 5 perf 65mm film frame. In digital terms, that's a lot of information being captured. In a recent resolution test of film and digital cameras, the Alexa 65 shined.

Also, many top cinematographers who swear by film are turning to the Alexa 65. The cinematographer of Okja, Darius Khondji, describes the Alexa 65 as the only digital camera that he'll touch: "If I do shoot digital, I would shoot Alexa 65 and not touch any other camera."

Image via Netflix.
Lenses

Finding lenses that fit this huge 65mm sensor can be a challenge. However, ARRI offers 4 lens options for cinematographers using the Alexa 65. One interesting thing to note is that the Alexa 65 uses a proprietary lens mount: XPL. That means your typical PL mount lenses that can handle a 65mm sensor won't work.

Prime DNA

ARRI describes the Prime DNA series of lenses as full of character with unusual image attributes. This set of lenses is constantly evolving, and each lens has its own character. For example: there are two versions of the 35mm and 45mm lens to choose from, depending on your taste. The Alexa 65 and Prime DNA lenses are currently in use by DP James Laxton () to record Barry Jenkins 's new film.

Prime 65 and Prime 65 S

The Prime 65 series of lenses is ARRI's crisp set of lenses that offers a clean and modern look. These high-performance image optics are reminiscent of the ARRI Master Prime series. The main difference between the S-line and non-S-line is that the S features slightly faster T-stops.

Vintage 765

The Vintage 765 lenses are rehoused ARRIFLEX lenses from the late 1980s. These lenses offer a wonderfully classic look with great contrast and superb image quality. There are 11 lenses in this set, ranging from a 30mm to a 300mm.

Quality and Functionality

Quality is obviously top priority with the Alexa 65. ARRI has partnered with IMAX to produce films using the Alexa 65 camera system. Some notable IMAX films shot on the Alexa 65 include and Captain America: Civil War.

Now, one may think that because of the inherent nature of this camera that it's an unwieldy beast. While it does weigh in at 23 pounds, you can throw it on your shoulder to operate on a busy street. It's not meant to sit in a studio all day.

Looking for more information on ARRI? Check out these articles.

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Inside the Filmmaking Beauty of the ARRI Alexa 65

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Cover image via The ARRI Alexa 65 has shot some of the best films in recent history, like and The Revenant . Personally, I think one of the most visually striking films in recent memory is also a result of the ARRI Alexa 65 - .

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To view my previous work and various other projects and media please visit my website, linked here

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For me finding an opportunity to push myself and develop my creative skills is something I am always striving for. I've worked on a variety of films which has helped me to create a wide set of skills that are key to film production. University is giving me the opportunity to advance and develop these skills far further than I ever imagined. Developing my confidence to work on films in the future in a variety of roles.

On this site, you will be able to find past projects of mine, both in film and photography. Along with information about myself and my plans for the future. A CV is available upon request. Please get in contact with any questions.

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For me finding an opportunity to push myself and develop my creative skills is something I am always striving for. I've worked on a variety of films which has helped me to create a wide set of skills that are key to film production.

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After consulting both the writer and director I have suggested that we use a 1:85 aspect ratio to reflect the homey claustrophobic feel of the film without making the film fall into a more silent film inspired ratio that would restrict the shots in what will be an open environment.

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57 Oliver's Battery Rd N

Winchester

SO22 4JB