AUTHOR SUBJECT: Authentic realism look
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Posted: 11/16/2017 9:39:38 PM
Is anybody else going through an authentic realism look stage? 

Coz I am. 

I used to loooooooooooove making film look all surreal with lots of looks and color changes and filters and whatever settings and tweaks and image enhancements and such and such.  Looked absolutely brilliant.  So beautiful and arty. 

But recently it changed to what I now call authentic realism.  It means I use the video as is.  No changes except maybe for the odd shot here and there that might need some contrast tweak or something.

But overall nothing.  Just the beautiful high definition video as is.  If something can't be done in camera, meaning not in the camera at all but during the shoot, like lighting and reflecting light and such and such, it isn't done. 

I'm loving it I must say.  It looks so real.  No bullshit or trying to manipulate the viewer's emotions or skew their perspective.  Just the hard, beautiful truth as is. 

Who knew authenticity can be so beautiful.  *sniff*. 

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Posted: 11/17/2017 11:56:45 PM
Just me then? 

Whookey.  Thought so. :)

Mike Conway
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Posted: 11/18/2017 6:59:11 PM
 I don't want the "video" look, but I'm not hugely bothered by it.  I'm more concerned with the content, than the look.  If the content is crappy, and cheap (shot like the person is holding a handicam), then I won't like the look either.  I actually think 28 DAYS LATER looks pretty cool.  But, that movie used some cool lenses and composition.

James will know this from watching EXILE, that there are a couple of insert shots; one of Jason running through a bush, and another his P.O.V. of walking through some desert.  Those shots had the cinegamma setting off and looked really video-ish.  I was satisfied with the rest of the movie's look.  Those shots pissed my off, because someone rented my camera and changed the settings.  I didn't realize until after I literally ran through the bushes and scratched myself up.  I was trying to convey that a blind guy couldn't just run, without hitting obstacles..  I didn't want to do it, again, and I didn't have the right tools to fix ithe footage up.

There is a 4K DVX 200, that I'm kind of jonesing for.  I really like the look that those cameras put out, plus you get motorized zoom, and the more simplified shooting approach of a fixed lens.  But, I want to use drone footage, too, so I'll have a similar situation trying to match the look. 

When I can afford it, I'll probably get the Sony A7s II, because it sees in the dark (moonlight), and I really like the possiblities of working in shadowy situations, with one or two extra lights.  But, man do I love the idea of the new DVX.  The downside, is the lighting would have to be more traditional, but it gives me a look I like.

As far as actual film, I don't miss it that much.

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Posted: 11/18/2017 7:57:43 PM
Oh yes......  I've forgotten about the "video look". 

Today's "video look" really isn't the "video look" of years ago when the term "video look" was coined.  A 4K GoPro camera's default look or even just an HD camera's doesn't remotely remind me of the "video look" of those days.  I LOVE the crispy clear 4K look.  No softenings or glowings or maskings or color treatment or whatwhat.  

Anyway, what brought this thread on was that what I once saw as artistic additions or additions to more powerfully tell a story, has become today's brainless uninspired "filmmakers" textbook irrirating rubbish that are ALWAYS used and really have lost all inspiration.  All is just textbook formulas.   

Like, watch a police work murder investigation show?  The colors are pale and slightly blueishly tinted with limited chrominance.  (Think Cold Case.) 

Watch a documentary about fat loss?  The show is shot on 24fps video. 

Something is depicted from the 1800's?  The color is tinted a sepia brownish yellow with vignette.

Something sci-fi'ish?  The picture is greenish tinted.

Romcom?  More glow and softening.   

And EVERYBODY for some reason feel they absolutely HAVE TO turn up the contrast for some unexplainable reason. 

And never is an outdoors scene just the natural color.  It's ALWAYS warmer.  Seems every modern excuse for a filmmaker has a phobia of the natural cooler bluer light.  Sometimes EVERY outdoor scene even looks like late afternoon it's so darn yellow and warm. 

And let's not even get to something as ridiculous as digitally added noise and grain or grimeyness. 

And this was just the tip of the iceberg.  It seems the "artistic decisions" doesn't ever stop.  "Filmmakers" seem incapable of just showing a natural picture at all.  It's like they're in this brainwashed by previous media they've seen all their lives state and can't do anything other but mindlessly produce more of the same.   

Anyway, I was just getting tired of watching all these textbook foofies applied all over the stupid garbage on TV with stories so terrible, the story can't even communicate the mood anymore.  It's like today's formulaic filmmakers have to teaspoonforcefeed the audience the mood and feel of the movie with all sorts of added filters and colors and rubbish because the story is too weak and useless to speak for itself and the audience too desensitized to feel for any story so their emotions and thoughts are turned on and off with these switches. 

Or something such.  It's just too annoying for me now, all the stupid color changes and look changes and whutwhut. 

As for me, I'm going to try and use natural, authentic pictures in my movies for a while.  The authentic realism look I called it above.  Yeah.  :X!  Magnifique.  

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