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<p>Hello!</p> <p>Does anybody recognize the camera the male model is using in this video?</p> <p>

<p>By now you’ve all heard that Apple has introduced the “wide color gamut” colour space to its iPhone 7. So at first I thought that that meant wide-gamut RGB colour space, but in fact, only now I see, on the AnandTech, Web site that that means DCI-P3, something completely different. Also at first I got a bit afraid for Samsung and its Note 7, thinking it didn’t have such capabilites, but now I see that somewhere in its settings you can choose from a variety of colour modes, including the DCI-P3 and the Adobe RGB colour space.</p> <p>So what I’d like to know is will this have any kind of interesting consequences?</p> <p>If the Note 7, too, can be used in the DCI-P3 colour mode, can it as well capture images in this colour space?</p> <p>If you capture an image using the iPhone 7 and, say, these new Instagram filters that are coming specially designed to make use of this new camera in the smartphone, if using an sRGB screen, you won’t have any use of it, and the image being viewed will be much duller-looking.</p> <p>Will this all then thus mean that we are slowly going away from sRGB into other territories? Why has that not happened yet? Are there any special problems in trying to make laptops, computer screens, TVs support any other, wider, colour spaces?</p> <p>Is this all useless without colour management on the phone?</p> <p>I’m confused. Which, I think, is very visible.</p>

<p>Thank you, Jeff, I'll try.</p> <p>Tim, I never really expected it to be this complicated when that old thread was active.</p> <p>Everybody kept saying "It's easy", yet no one came even close to achieving this look. If it's easy, why not do it thoroughly and successfully.</p> <p>The colourist from Australia came as close as possible, I think.</p> <p>Which reminds me, can you key out areas in Lightroom or similar software?</p>

<p>Tim, it helped.</p> <p>But this seems like the closest way to get to the original.</p> <p>So since that thread cannot be bumped successfully, and since it is a different topic altogether and in a different subforum, I wanted to learn what were the equivalents of these controls in still-imagery software.</p> <p>I'm through. I want to get to the bottom of things. I don't like half-baked recipes and answers.</p>

<p>Can anybody tell me how can this be translated to be applied to still images?</p> <p>http://juanmelara.com.au/midnight-in-paris-reverse-engineering-the-grade/</p> <p>In Lightroom and similar programs, what would be the equivalent to colour wheels and offset?</p>

<blockquote> <p>The custom setting is meant to be used with a grey object in non-changing light conditions. Use it to shoot the grey card, which will then set the correct white balance for that lighting. It doesn't really matter what the colour temperature of that light is; it's meant to normalise it to make 18% grey look like the perfect mid-tone grey.</p> </blockquote> <p> <br> Not really. Look:<br> <br> https://support.usa.canon.com/kb/index?page=content&id=ART105422</p>

<p>Andrew, I did type into Google search box something like "'fluorescent H' colour temperature" and didn't come up with much. ('' were obviously "": here I'm obeying the style manuals.)</p> <p>This is so fascinating; I found out a lot I wasn't expecting to.</p> <p>One of the reasons why I asked was because I was going to shoot with a really simple point-and-shoot camera and it didn't have the Shade white balance setting, I was wondering if it would give me warmer images if I set it to Fluorescent H than if I set it on Cloudy, however small that might be.</p> <p>Then I thought, as per the camera's manual, perhaps I can take a piece of white paper and put it in some deep shade – or somewhere better, which is why I asked for suggestions – and then take the reading and shoot with that.</p> <p>I would know how to handle a powerful DSLR, but for some reasons I wanted to do this with this simple camera.</p>

<p>Camera's manual says that Fluorescent is for "warm-white fluorescent, cool-white fluorscent, warm-whitetype (3-wavelength) fluorescent" and Fluorescent H is for "daylight fluorescent, daylight-type (3-wavelength) fluorescent".</p> <p>A few questions.</p> <p><br /> First, could anybody tell me the numerical values for colour temperature of these settings?<br /> Second, since they explicitly mention three-wavelength light sources, does that mean that the others emit light of only one wavelength?</p> <p><br /> Third, is there a way to use the Custom setting and point it towards something really cool or really warm and then take a picture that is really warm or really cool? How can that be done? So, for example, that means pointing to a light source with the 10,000 K colour temperature in daylight, which is, what, somewhere between 5000 and 6000 K, and thus making an image warmer or, the other way around, pointing towards something that emits a light with the colour temperature between 1000 and 2000 K, like tungsten lights, and thus making an image cooler.</p> <p><br /> How can I make sure that the camera remembers such a setting?</p>

<p>I was wondering how can I change the colour of highlights or shadows and can I choose a specific RGB (or any other colour code) values to do so?</p> <p>Can I make an image overall more of a certain colour, perhaps pump more orange into it?</p> <p>Furthermore, is there an option similar to offset in colour correction to warm an image, and is there a way to select certain areas of a scene and make it not be affected by the changes in other areas of the photo?</p>

<p>Thank you.</p> <p>It's actually a great example because of the clouds, which is something I'd like to change in a couple of shots.</p> <p>Can I define the colour via RGB coordinates?</p>

<p>Jeff, I can use either Lightroom or Capture One. If there is another program you would recommend, I would gladly listen to your proposal.</p>

<p>How can I make my highlights be of certain colour?</p> <p>Can I use an RGB or HEX value of the colour I have in mind?</p> <p>I would like to colour them in such a way so that the shift to this colour affects all the other colours.</p>

<p>That's so simple, Karim and BeBu.</p> <p>But if someone asked you why is that wider frames get letterboxed on narrower ones, what would you say?</p> <p>It's terribly simple to see why narrower frames get pillarboxed on wider ones.</p>

<p>Who does one contact about moving a topic from one subforum to the other?</p>

<p>This is probably not the best place to ask this, but I have no idea where else to put it.</p> <p>I would like to know given two rectangles, one with the aspect ratio <em>a : b</em>, the other with <em>c </em> <em> : d</em>, how can one know immediately if the <em>c : d</em> image will appear on the <em>a : b</em> rectangle as letterboxed or pillarboxed?</p>

<p>Lex, don't forget to tell us, if you could, what are those cinematography message boards you were mentioning.</p> <p>Speaking of films with destroyed colours, how about <em>The Hobbit</em>? That was atrocious.</p>

<p>Tim, how interesting that you chose exactly the greens-and-reds photo to demonstrate trying to go for the look! Your description of reds from <em>Midnight in Paris</em> as "candy apple" keeps going through my head, because that's exactly it. I presume you were thinking about the colour of the Fouquet's awnings, which are in that sort of red?</p> <blockquote> <p>One aspect about these type of post processing discussions I keep forgetting to touch upon is that after attempting to copy from the OP's posted samples I end up hating the original edit that I put quite a bit of effort into to look perfectly normal and aesthetically correct looking as I remembered the scene. It's like you can't put the color gene back in the bottle by attempting to un-see the new color style. Going back and forth between Before/After comparisons are downright gut wrenching.</p> </blockquote> <p>I didn't quite get this?</p> <blockquote> <p>And one other weird thing is that I wasn't particularly fond of the color style from the "Paris" screengrabs to begin with. They're so unnatural looking. I wonder if there's such a thing as a photography therapist to rid me of photo fickle?</p> </blockquote> <p>I remember hating the look when I first saw the film. I remember thinking: Paris isn't that yellow! Who had the idea of colouring it like that? Who got Then I came back to it a few days ago, mainly through those screencaps, and I loved it. I especially hated how Versailles looked all yellow.<br> Now I keep thinking of what kind of colours would Woody Allen and Darius Khondji pick to depict Greece, say those white houses with azure roofs of Santorini or the Navagio Beach in Zakynthos...</p> <blockquote> <p>Now I have two images I no longer like unless I leave them with the new color appearance. Thanks, Anita. At least I now have a new color preset in my tool box.</p> </blockquote> <p>These two ones you've posted?<br> Lex, I'm not sure those were the looks I was going for, but there is something there and I've certainly learnt a lot of new stuff.</p> <blockquote> <p>Still photographers who haunt discussion forums tend to be rather hidebound, stiffnecked and conventional, whereas cinematographers are more open minded and ready to explore effects and share what they know.</p> </blockquote> <p>I had the same impression about cinematographers!</p> <blockquote> <p>Uh...How about just lazy? Guilty as charged!</p> </blockquote> <p>Ha-ha!</p>

<p>Yes, Tim, that's what I asked and I pretty much had the same idea. I wonder if it'll work – I could try. I was expecting someone to tell me something about the possibility of using those warming and polarizing filters, but so far the silence is a bit surprising.</p>

<p>So, Tim, you wouldn't be able to paint a photo to make it look like the ones seen in Cinetourist's screencaps?</p>

<p>I think this edition of <em>American Cinematographer</em> might have the information Craig was talking about:</p> <p>http://www.theasc.com/ac_magazine/August2012/toc.php</p>

<p>I got quite unexpected responses!</p> <p>I, of course, do know that everything is super controlled and that there are a million of lights and various other pieces of equipment behind the camera, which then get into postprocessing and get changed to achieve the look a director wants.</p> <p>However, I was more referring to outdoor shots.</p> <p>Here are some examples – first link shows you the screenshots from the three-minute opening of <em>Midnight in Paris</em> and the second is a link with fewer shots from <em>To Rome With Love</em>:</p> <p>http://www.thecinetourist.net/an-american-tourist-in-paris.html<br> <br> http://movie-tourist.blogspot.com/2013/01/to-rome-with-love-2012.html<br> <br> So I was referring to how to imitate the look by choosing the time of day, for example. Then I wanted to know does one use warming filters, or something like Singh-Ray Gold-N-Blue polarizer, or LB Warming Polarizer from the same manufacturer, or does one just change white balance and if just chaning it, does one doit in-camera or in post-production? Are filters effective with digital cameras? Which warming ones to chose? Do they affect sharpness?<br /><br> I just wanted to see if it was possible to do with different equipment, to see if it is possible to make it seems quite similar, but done differently, obviously, because of various reasons such as budget and difference in technology.<br /><br> Thank you, Craig, for that tip! I had no idea, even though I've heard about the magazine and considered subscribing just the other day!<br /><br> Jeff, yes, that's the same article I got the info about dislike of direct sunlight I put in the thread opening about.<br /><br> Henry, thank you, I will go and read it now!<br /><br> Ed, which time of day would you choose? Some of these shots, obviously, look like either early morning or late afternoon, and there is probably a way to find out which particular time of day was chosen for each shot knowing the orientation, but some look deceivingly so. It's funny how the person writing that Cinetourist article thinks that the first half of images of Paris have been shot "in bright sunlight".<br /></p>

<p>How do you plan your shots and how does one learn to plan?</p> <p>What are some considerations you take into account and how do you decide which approach to choose depending on the desired outlook?</p> <p>I am more interested in exterior photography, but I would be more than intrigued to find out what happens when planning a studio session.</p>

<p>How can one achieve the look of Woody Allen's films <em>Midnight in Paris</em> and <em>To Rome With Love</em>, in which cinematography was the work of Darius Khondji?<br> <br />Both have a yellowish, orange, ocher look with saturated colour. I've read that both Woody Allen and Darius Khondji prefer overcast skies and indirect light, which, I would say, they used much more in Paris then in Rome. In Rome it seems that the majority of the exterior scene were shot in late afternoon. I would also say that Rome is much more orange than Paris, which is yellowish. Darius Khondji described the look of the Rome film as "Kodacolor".</p> <p>What does one do from choosing the time of day to picking the correct choiced in postproduction to achieve this look and are there any other films with similar visual identity?</p>

<p>There is an Android version, and, if I remember correctly, it is different from the iOS one.</p> <p>Photo.net has a nice list of other Sun-tracking apps:</p> <p>http://www.photo.net/gizmos-and-gadgets/sun-position-tracking-apps/</p>

<p>There were several posts in the thread about Ken Rockwell's day job that mentioned his love of saturated, vibrant and contrasty photographs.</p> <p>Are there photographers who are known for this look, but who do it much better?</p> <p>Could you name some examples?</p>