"Digital cameras, they're so sensitive at night that you can shoot with a lot less light"... and they show clips from "Moonrise Kingdom", shot on analogic 16 mm camera.
Compositor here. It was definitely not good. The blown out water highlights from the sun were clamped and they tried to grade it like the moon but when you have clamped values like that you can't grade them below a value of 1 without it looking like that. I'm assuming he just wasn't exposing low enough in camera to retain that information. If doing day for nights, it's really important to still expose it to the right (al of the way) so that you retain all the highlight detail for grading it down in post. Steve Yedlin has the best day for night methods I have seen, other than just shooting at night (which with low light performance in cameras nowadays, like why not do that unless you're taking a more impressionistic approach such as Yedlin's).
@@danielhuang2488 if I was filming it and doing the day for night, yes that’s what I’d do. Usually exposing to the right can mean for any individual subject or object in the shot, but in this case I mean the whole shot, because any time you grade down values that are clipped it’s gonna look like mud. Also using a pipeline in 12-bit or using raw from a camera like an Alexa or Red is gonna help retain as much dynamic range as possible. If you’re using 10-bit color or even 8-bit (lord hep you if you’re trying to do a day for night in 8-bit) nailing your exposure perfectly becomes most important.
“I’ve yet to meet a director who enjoys watching people light” LMAO 😂 legendary
"Digital cameras, they're so sensitive at night that you can shoot with a lot less light"... and they show clips from "Moonrise Kingdom", shot on analogic 16 mm camera.
Lol
Learn more in this five minute video about outside lighting than I had in 50 CZcams videos. Thanks for the content!
Moonrise Kingdom was shot on 16mm film.
I love his work with Wes Anderson, but the day for night didn't look that great but hey who am I
I’ve noticed that Yeoman is only as good as his director.
Compositor here. It was definitely not good. The blown out water highlights from the sun were clamped and they tried to grade it like the moon but when you have clamped values like that you can't grade them below a value of 1 without it looking like that. I'm assuming he just wasn't exposing low enough in camera to retain that information. If doing day for nights, it's really important to still expose it to the right (al of the way) so that you retain all the highlight detail for grading it down in post.
Steve Yedlin has the best day for night methods I have seen, other than just shooting at night (which with low light performance in cameras nowadays, like why not do that unless you're taking a more impressionistic approach such as Yedlin's).
@@sschmidtfilms so expose to the right but don't clip it, right?
@@danielhuang2488 if I was filming it and doing the day for night, yes that’s what I’d do. Usually exposing to the right can mean for any individual subject or object in the shot, but in this case I mean the whole shot, because any time you grade down values that are clipped it’s gonna look like mud. Also using a pipeline in 12-bit or using raw from a camera like an Alexa or Red is gonna help retain as much dynamic range as possible. If you’re using 10-bit color or even 8-bit (lord hep you if you’re trying to do a day for night in 8-bit) nailing your exposure perfectly becomes most important.
You are a human being and you matter 🙂
So much knowledge!
❤️❤️
let me guess, he lead the lighting for this interview too didnt he? ;)
Day for night looks bad always. Still never seen it done well. Even from a master like Robert Yeomen.
Now days the tech has advanced so much that you can literally shoot night for day. The only problem is actors can't see at night haha
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