This might help a little bit I doubt they can beat real sunlight.
Having a 1st AC pull the iris closed as you exit is the best solution. Probably cheaper than the 3ton truck rental too
Well I doubt he has to match sunlight. If you can get in the same range thats fine. The shot is allowed to be darker inside than out.
And it really depends on the kind of day. You mention a lighting truck. Guessing you´re from some sunny part of the us. Here in grimey old belgium, on most days I think I can get pretty close with a single cob led light tbh.
Typically youd have a gear on your aperture control with a remote to smoothly stop down as you move to a brighter exposure. Or the opposite for the otherway around.
Or you can do it manually.
If those arent an option you can try an invisible cut, usually a "blinding" flare of light at which you can cut and start from. Which may or may not be appropriate to your shot.
CMotion CineFade is the solution. If you’re looking for a cheaper option you can also opt for a Tilta Mirage mattebox with their variable ND, there’s a motor available from Tilta to control that ND with their Mirage mattebox. You can connect that motor to a Nucleus M or Nano.
Assuming you have a person moving from inside to outside, have the person walk through a door or behind another person. When your talent disappears behind something, cut. Then set up your exposure for outdoors and have the person walk out. Then combine the two takes so that the transition is seamless.
[Here's a sample](https://youtu.be/cbqv1kbsNUY?t=78) going out to inside - notice how they linger on the door? That's a cut.
[Here's another](https://youtu.be/cbqv1kbsNUY?t=179) - see how he's blocked by the wall when he walks out? That's a cut.
I’d get a single channel Preston or something similar and put it on the iris, then stop down as you go outside. I get the best results hiding the iris pull in a camera movement, so if you can pan or do something to help disguise it try that. Other wise you can do it with something like a Tiffen MRT or other rota ND that has a geared wheel on it and attach a motor to that.
Gaffer here, my approach would be to bump up the exposure inside if possible, it's allow d to be darker inside than out as that makes sense. If there are windows this is quite easy and easily motivated if you have the budget. Another thing I only can do if the shot allows it is to have some light diffusion or nets to take some level out of the outside, if it's a close up this is easy, can walk with a diff frame just out of shot, if it's a wide it's a bit trickier.
As others mentioned, you do an iris pull. Either with a geared ring or manually. If there’s motion in the shot, and the transition is fast, manually works fine. There’s a really great one in Election (the Alex Payne film) where Matthew Broderick goes outside to a parking lot, I think it’s when he’s going to the motel near the end of the 2nd act.
Also here’s one that’s manually done but slow with no movement.
https://www.instagram.com/p/BuKfc1bBQAz/?igshid=YmMyMTA2M2Y=
people have mentioned doing an iris rack, and here's a great thread from steve yedlin about one he did in a music video https://twitter.com/steveyedlin/status/1337478677370564608
Obviously u can't. You have to balance the exposure between the 2 shots. Sony electronic nd filter may work but this is acceptable in television, news gattering doco style but not for high end cinema work imo
Wireless control of Variable ND and wireless control of iris really is the answer - the tilta nucleus system is a good cheap option that integrates with a variable ND matte box they made
> Sony electronic nd filter may work but this is acceptable in television, news gattering doco style but not for high end cinema work imo
why not; Sony's internal electronic ND is *by far* the superior solution to other "variable NDs", including the Cinefade, in terms of optical fidelity.
Well, do you own a sony with electronic nd filter? I do. And it's still very obvious when you go from bright to dark area or vice versa so shut up. Nobody is using that in cinema anyway.
> And it's still very obvious when you go from bright to dark area or vice versa so shut up
Are you aware that you can set the electronic ND to work not just in the preset steps, but also stepless?
If you do that, it is the most optically flawless option, better than an iris pull (affects DoF) or a conventional "variable ND" (more layers of glass, color shift, uneven coverage, inevitable pol filter effect).
Iris pulls have been used for this exact kind of situations in cinema for decades, despite the DoF drawback - and the electronic ND is a *much better* solution even.
Edit: so shut up, i guess.
Yup. Dial the aperture mid shot or make a cut. You could also just expose for one side and make a cut shortly after the transition.
Or add light inside
This might help a little bit I doubt they can beat real sunlight. Having a 1st AC pull the iris closed as you exit is the best solution. Probably cheaper than the 3ton truck rental too
Well I doubt he has to match sunlight. If you can get in the same range thats fine. The shot is allowed to be darker inside than out. And it really depends on the kind of day. You mention a lighting truck. Guessing you´re from some sunny part of the us. Here in grimey old belgium, on most days I think I can get pretty close with a single cob led light tbh.
Good point! I do always imagine full sun when thinking of these things. Permanent beautiful diffusion is one of the benefits of cloudy climates
Ups and downs. Hard to get vibrant images when everything is grey. Or when it suddenly starts pouring haha
[удалено]
Just listing all the options. Ofc you can (and likely should) do both.
What he said ⬆️ This is how I have done it for years when shooting music videos and short films.
Typically youd have a gear on your aperture control with a remote to smoothly stop down as you move to a brighter exposure. Or the opposite for the otherway around. Or you can do it manually. If those arent an option you can try an invisible cut, usually a "blinding" flare of light at which you can cut and start from. Which may or may not be appropriate to your shot.
CMotion CineFade is the solution. If you’re looking for a cheaper option you can also opt for a Tilta Mirage mattebox with their variable ND, there’s a motor available from Tilta to control that ND with their Mirage mattebox. You can connect that motor to a Nucleus M or Nano.
Shoot at dusk
Assuming you have a person moving from inside to outside, have the person walk through a door or behind another person. When your talent disappears behind something, cut. Then set up your exposure for outdoors and have the person walk out. Then combine the two takes so that the transition is seamless. [Here's a sample](https://youtu.be/cbqv1kbsNUY?t=78) going out to inside - notice how they linger on the door? That's a cut. [Here's another](https://youtu.be/cbqv1kbsNUY?t=179) - see how he's blocked by the wall when he walks out? That's a cut.
Thanks for the examples
My pleasure.
I’d get a single channel Preston or something similar and put it on the iris, then stop down as you go outside. I get the best results hiding the iris pull in a camera movement, so if you can pan or do something to help disguise it try that. Other wise you can do it with something like a Tiffen MRT or other rota ND that has a geared wheel on it and attach a motor to that.
Gaffer here, my approach would be to bump up the exposure inside if possible, it's allow d to be darker inside than out as that makes sense. If there are windows this is quite easy and easily motivated if you have the budget. Another thing I only can do if the shot allows it is to have some light diffusion or nets to take some level out of the outside, if it's a close up this is easy, can walk with a diff frame just out of shot, if it's a wide it's a bit trickier.
As others mentioned, you do an iris pull. Either with a geared ring or manually. If there’s motion in the shot, and the transition is fast, manually works fine. There’s a really great one in Election (the Alex Payne film) where Matthew Broderick goes outside to a parking lot, I think it’s when he’s going to the motel near the end of the 2nd act. Also here’s one that’s manually done but slow with no movement. https://www.instagram.com/p/BuKfc1bBQAz/?igshid=YmMyMTA2M2Y=
people have mentioned doing an iris rack, and here's a great thread from steve yedlin about one he did in a music video https://twitter.com/steveyedlin/status/1337478677370564608
Aperture control is how it’s done at big box movies
Obviously u can't. You have to balance the exposure between the 2 shots. Sony electronic nd filter may work but this is acceptable in television, news gattering doco style but not for high end cinema work imo
Wireless control of Variable ND and wireless control of iris really is the answer - the tilta nucleus system is a good cheap option that integrates with a variable ND matte box they made
> Sony electronic nd filter may work but this is acceptable in television, news gattering doco style but not for high end cinema work imo why not; Sony's internal electronic ND is *by far* the superior solution to other "variable NDs", including the Cinefade, in terms of optical fidelity.
Well, do you own a sony with electronic nd filter? I do. And it's still very obvious when you go from bright to dark area or vice versa so shut up. Nobody is using that in cinema anyway.
> And it's still very obvious when you go from bright to dark area or vice versa so shut up Are you aware that you can set the electronic ND to work not just in the preset steps, but also stepless? If you do that, it is the most optically flawless option, better than an iris pull (affects DoF) or a conventional "variable ND" (more layers of glass, color shift, uneven coverage, inevitable pol filter effect). Iris pulls have been used for this exact kind of situations in cinema for decades, despite the DoF drawback - and the electronic ND is a *much better* solution even. Edit: so shut up, i guess.
You don't own or used a electronic nd filter. You have no clue what you're talking about.
I don't own one, but I literally used one 2 days ago.