![]() ![]() An ND filter will not affect the color of the footage. In the film Mad Max: Fury Road, they used Day for Night but broke some of the rules. Instead of lowering the exposure by two stops, which is the norm, they increased the exposure by two stops. VFX Supervisor Andrew Jackson explained, “The massive benefit you get with shooting overexposed for a day for night setup is that you get detail in the shadows that are still there. Making of Mad Max: Fury Road from ACS Victoria with John Seale ACS ASC and David Burr ACS It doesn’t just clip to black in the shadows.” You can pull the highlights down and darken the whole image, but still have detail in the shadows. If you have two hours, you’ll learn a lot from John Seale and David Burr. Set the camera’s white balance to Tungsten or 6000° Kelvin or higher range. F-Stoppers has a good article on using the Kelvin scale to white balance. You can also white balance your camera to give your footage a bluish tone by shooting a yellow card. Don’t use blue gels to make your scene bluer. Some filmmakers will use a blue gel over the lens to tint the footage, but it can affect focus and even the smallest defect in the gel can ruin your shot. Plus, blue gels are often too strong and will make your shot too blue. Or green! (NSFW language, but look at the color! It’s like they gave up! Plus, a very weird boing sound effect. Use lights and candles in your scene if it makes sense. It will help sell the idea that your scene takes place at night. Try it out before you get your actors out there. Synthetic aperture color finesse manual#.Synthetic aperture color finesse movie#. ![]()
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