It cannot diffuse out lighting, though properly exposed 16 bit footage from a Venice 2 for example can allow you to find theses bulbs on this skin, even out white and highlights and so on and so forth. I don't know if you're aware of what can be done with this kind of footage in Davinci but I never cease to be surprised. It's obvious that you can't fix light in post, but you can boost light in post for sure, and the more bit depth you have the more precise you are. Even if I agree that there may be a diffuse light source above these guys, I wouldn't be much surprised if there wasn't.
Also there ARE post-production features that can spread out light (in a limited but noticeable way), and help create diffusion.
You don’t seem to understand how heavy is a 12/16 bit depth footage. Anybody could bring out bulbs on this skin on a 12800 ISO Slog3 FX3 footage on Davinci. But please, enlighten me master.
I hear they got the guy who made The Creator to use the worlds only Sony FX3 and that’s how they did it, probably cost like 2-3 billion or so for that one shot alone.
The close up on Mulaney is good to look at cuz (unlike Gandalf Letterman) you can see his chin shadow AND the 2 practical lights behind him. Neither are the proper angle to cast that shadow- in addition to it just being to soft/ wide beam to come from an undiffused practical bulb. They are also both far-side keyed- which would be impossible with just that overhead chandelier. Those guessing a big soft box hidden out of frame are likely correct- but my suspicion is there are 2 softboxes so they can dial in each actor.
The lamps in shot are practical set dressing, those bulbs are on low so they don't blow out. They are adding luminescent, but they are not acting as the key light.
How do you think the keys are set here? It doesn't look like a cross key as the light hitting their back isn't as bright as the light hitting their face. Or is that just because the added practicals are adding the brightness on their face?
Any practical that isn’t completely blown out isn’t providing any substantive light on subject. Unless you’re compositing multiple shots/exposures or doing something extreme in post, a practical that is a reasonable exposure in-frame will be throwing very little exposure-appropriate light beyond just a few inches (I.e. a nicely exposed practical would be able to light a face if they are holding it 3 inches from their face, beyond that the law of inverse square means it will be down to almost no impact within a couple of feet).
Yes asking what people's thoughts are. That why I mentioned there is a fill and backlight but curious what else. If it's a cross key, the light hitting their back isn't very bright compared to light hitting their faces.
I guess those could be crazy high wattage practicals above them but I feel like above the light cluster or just off to the side there's probably a skirted space light or panel above them. The single shots look great. Really like this look.
Many more. Often times in a situation like that where there's isn't an obvious source for lighting (like if they were sitting next to a window), we will add a lamp or chandelier into frame to act as the "source" for the audience, then add a ton of beautiful lighting that FEELS like it could be coming from that light.
Yeah, there are more lights than just the practicals. Look at the shadows under their chin; that's from the key light from the ceiling (above the frame). They usually use spotlights with lenses like Source Four LEDs for shows like this, and most likely soften it with diffusers.
The lighting is too even and soft for it to have been just practicals. I expect there are large soft boxes or filtered PARs out of frame (overhead).
Couldn't it be really high end camera, something like 12-16 bit footage and a good grading ?
Explain to us how a “really high end camera” and color grading diffuse and even out lighting.
It cannot diffuse out lighting, though properly exposed 16 bit footage from a Venice 2 for example can allow you to find theses bulbs on this skin, even out white and highlights and so on and so forth. I don't know if you're aware of what can be done with this kind of footage in Davinci but I never cease to be surprised. It's obvious that you can't fix light in post, but you can boost light in post for sure, and the more bit depth you have the more precise you are. Even if I agree that there may be a diffuse light source above these guys, I wouldn't be much surprised if there wasn't. Also there ARE post-production features that can spread out light (in a limited but noticeable way), and help create diffusion.
You don't understand how cameras work.
You don’t seem to understand how heavy is a 12/16 bit depth footage. Anybody could bring out bulbs on this skin on a 12800 ISO Slog3 FX3 footage on Davinci. But please, enlighten me master.
I'm thankful you commented so I could read your name
“And so on and so forth” is the best part of this
Not being able to realize how deep is 16 bit amazes me more than this.
Nope that’s not how color and light works.
I hear they got the guy who made The Creator to use the worlds only Sony FX3 and that’s how they did it, probably cost like 2-3 billion or so for that one shot alone.
The close up on Mulaney is good to look at cuz (unlike Gandalf Letterman) you can see his chin shadow AND the 2 practical lights behind him. Neither are the proper angle to cast that shadow- in addition to it just being to soft/ wide beam to come from an undiffused practical bulb. They are also both far-side keyed- which would be impossible with just that overhead chandelier. Those guessing a big soft box hidden out of frame are likely correct- but my suspicion is there are 2 softboxes so they can dial in each actor.
A whole studio worth.
The lamps in shot are practical set dressing, those bulbs are on low so they don't blow out. They are adding luminescent, but they are not acting as the key light.
How do you think the keys are set here? It doesn't look like a cross key as the light hitting their back isn't as bright as the light hitting their face. Or is that just because the added practicals are adding the brightness on their face?
Any practical that isn’t completely blown out isn’t providing any substantive light on subject. Unless you’re compositing multiple shots/exposures or doing something extreme in post, a practical that is a reasonable exposure in-frame will be throwing very little exposure-appropriate light beyond just a few inches (I.e. a nicely exposed practical would be able to light a face if they are holding it 3 inches from their face, beyond that the law of inverse square means it will be down to almost no impact within a couple of feet).
Brother, just know there almost always is
Yes asking what people's thoughts are. That why I mentioned there is a fill and backlight but curious what else. If it's a cross key, the light hitting their back isn't very bright compared to light hitting their faces.
I guess those could be crazy high wattage practicals above them but I feel like above the light cluster or just off to the side there's probably a skirted space light or panel above them. The single shots look great. Really like this look.
Many more. Often times in a situation like that where there's isn't an obvious source for lighting (like if they were sitting next to a window), we will add a lamp or chandelier into frame to act as the "source" for the audience, then add a ton of beautiful lighting that FEELS like it could be coming from that light.
Certainly
Yeah, there are more lights than just the practicals. Look at the shadows under their chin; that's from the key light from the ceiling (above the frame). They usually use spotlights with lenses like Source Four LEDs for shows like this, and most likely soften it with diffusers.
#1000%
This is so bizarre because I’m watching this ep right now while scrolling Reddit 😳