#LENS STUDIO LUT FREE#
Film LUTs free work especially well if the model is posing against a landscape of seascape background, which makes the entire composition natural and relaxed.
#LENS STUDIO LUT SKIN#
Making coloring more dramatic, and improving the skin tone, film look LUTs suit low contrast scenarios best of all.Be very careful if you want to use LUT film for footage with many tiny objects in the background, as they can simply merge in one unattractive spot.
Film LUT beautifully affects the skin tone, so think about applying it to portrait and wedding projects.What defines the look of a show has a lot more to do with the lighting and to some extent the lensing,” Heymann said, in conversation with Filmmaker Magazine. I’ve gotten great result from Red cameras, too. We’re kind of at a point in time where all these cameras are so good. Our colorist Skip Kimball showed us after our tests that the classic Stranger Things LUT-it’s always been a single LUT show-was quite easily achieved on the Arri camera as well, shooting ArriRAW. So, three different flavors of the Red sensor. Season one was Dragon, Season two was Helium, and Season three was Monstro. That said, each season had been shot on a different sensor anyway. At the time in 2016, there wasn’t a 4K Alexa option. Originally, the decision to shoot Red for the show had a lot to do with Netflix’s 4K requirement. “The decision to shoot on Alexa was driven mostly by our experience with that camera and the reliability that it offers, as well as its beautiful highlight retention and how it handles color contrast in underexposure.
#LENS STUDIO LUT SERIES#
Using StudioBinder’s storyboarding software, we imported a series of stills from Stranger Things t o show you these elements in action.Ĭheck them out below by clicking the image and exploring the entire collection. We see this style through chiaroscuro, color contrast, and character conflict. We define low key lighting as “a type of lighting style used in photography, film, and television that accentuates shadows, high contrast, and dark tones.” Stranger Things cinematographers use low key lighting to play off the battle between light and dark, red and blue, and good and evil. High contrast lighting, or low key lighting, is perhaps the most noteworthy technique the production team on Stranger Things used to impart a supernatural filmic look. Now that we’ve touched on the strategies used to impart a natural filmic look, let’s break down some strategies used to impart a supernatural filmic look. The cinematography in Stranger Things reflects a didactic balance between natural and supernatural. Stranger Things Camera Work Capture the supernatural Still, it’s a great example of an expressive natural setting. But that was natural! Well… maybe not to the degree it was in Stranger Things. The Starcourt Mall is an amalgamation of everything ‘80s: big hair, neon lights, chain-restaurants, etc. This visual technique carried over from season to season, even beyond Ives’ time on the show. Ives maintained a shallow depth of field for most of his shots where the foreground subject is presented with relative sharpness, and the background is blended. Leica prime lenses were used on Stranger Things to deliver a soft image. Of course, there are moments where the tone blends we’ll get to that in a bit, but first, let’s talk more about how cinematographer Tim Ives built a natural filmic look. The different lighting styles give the two sides of the story decidedly different tones. What is flat lighting? We define flat lighting as “a style of even lighting that produces very little depth and contrast.” Flat lighting isn’t typically a good thing - so why is it lauded in Stranger Things? Well, flat lighting juxtaposes the high contrast lighting commonly seen in the show’s supernatural scenes.
Most of the “natural” scenes in Stranger Things are shot with flat lighting. But the Duffer brothers don’t just rely on aspects of story and set dressing to communicate intertext, they rely on cinematography as well.
Here, the plot and production design call back to an iconic scene from cinema history.
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