RED ONE MX: film look during daylight?

[omar robles]

So were want to shoot a project for an artist. The video is to be shot all exterior days. However the artist commented that the footage produced by the Red One during the day looks too HD. I have been atempting to color grade it with magic bullet to give it a more convincing film look. However i have not been sucsessfull in my attempts to give it an organic filmic look. At least one that would satisfy the artist. Can any of you recommend any techniques i can employ to achieve a realistic film look. I have the social network blu ray and they shot tests outside during the day that look film like, and their raw and unprocessed.

I apologize in advance if i posted this thread in the wrong section.

[Jake Bastian]

What frame rate are you shooting?

[omar robles]

24F

[Mike P.]

Shutter speed was 1/48th?

Also, was it lit properly or are you just going under the assumption that the Social Network tests were wild as well? That's probably the single biggest thing in achieving a "film look". Conversely, if the exterior tests weren't shot at magic hour, it'd look less filmic... bright sunlight or overcast generally doesn't look nearly as pleasing, which is why most naturally light exteriors are shot during that time.

Do you have a framegrab or .r3d you can post?

[omar robles]

http://img408.imageshack.us/img408/6540/day1l.jpg

[Andy White]

Try some diffusion on the lens?

Look at getting some reflectors for a bit of fill/bounce...

Maybe shoot with antique lenses - Lomo primes or a Cooke zoom - that'll give a filmic feel without diffusion.

Importantly, get the artist to pick 1 or 2 absolute frames of reference for 'film look' & then you'll be able to see what aesthetic he's after.

[Stephen Pruitt]

I don't know. It sort of has that vintage Instamatic print look to me.

Stephen

[Marc Wielage]

I have the social network blu ray and they shot tests outside during the day that look film like, and their raw and unprocessed.

Social Network had the benefit of great lighting and great color correction after the fact. (A realistic budget also helped.)

I think some intense color correction, power windows, and selective defocus might take the edge off things. But you need an experienced colorist with lots of tools to get this done.

[Stephen Williams]

Lighting & light control , such as negative fill & huge nets.
Films has always looked very good in direct sunlight, I still sometimes use film & leave the Epic at home.

[Bérenger Brillante]

Your client must speak about depth of field. You probably close your iris a bit too much.

Try magic bullet tilt and shift blur , but remember it is 8 bits.