u/MarioKessa

Looking for advice on creating a convincing outdoor daytime “Blade Runner 2049” style atmosphere entirely indoors.

My idea is to shoot upper-body closeups against a light grey seamless paper backdrop, lit with a warm amber/orange source to create the feeling of an endless sky and haze/fog to soften the backdrop and create atmospheric depth. To help sell the environment, I may composite in a distant city silhouette that’s only barely visible through the haze in some shots.

Shooting at f/4, mostly closeups and medium shots.

Just wondering how much haze is typically needed before a backdrop starts feeling like atmosphere rather than a backdrop? Is a subtle haze enough for this type of look, or does it require a heavily hazed room?

Also, would one of the handheld smoke/fog machines from Amazon be sufficient?

One concern is that there won’t be a visible horizon or ground plane behind the subject to help sell the scale and distance..

Any lighting tricks for making an indoor setup feel like a massive outdoor environment would also be appreciated. 

(Also, if anyone caught my earlier post about attempting this in Unreal, I’ve pivoted away from that approach.)

Looking for advice on creating a convincing outdoor daytime “Blade Runner 2049” style atmosphere entirely indoors.

My idea is to shoot upper-body closeups against a light grey seamless paper backdrop, lit with a warm amber/orange source to create the feeling of an endless sky and haze/fog to soften the backdrop and create atmospheric depth. To help sell the environment, I may composite in a distant city silhouette that’s only barely visible through the haze in some shots.

Shooting at f/4, mostly closeups and medium shots.

Just wondering how much haze is typically needed before a backdrop starts feeling like atmosphere rather than a backdrop? Is a subtle haze enough for this type of look, or does it require a heavily hazed room?

Also, would one of the handheld smoke/fog machines from Amazon be sufficient?

One concern is that there won’t be a visible horizon or ground plane behind the subject to help sell the scale and distance..

Any lighting tricks for making an indoor setup feel like a massive outdoor environment would also be appreciated. 

(Also, if anyone caught my earlier post about attempting this in Unreal, I’ve pivoted away from that approach.)

I’m planning a music video and would appreciate some advice from people experienced with Unreal Engine virtual production, compositing, and cinematography.

I’m looking at creating a cinematic post-apocalyptic desert environment inspired by Dune and the Las Vegas sequences from Blade Runner 2049.

The plan is to film the subject on a green/blue screen stage and composite them into a CG environment created in Unreal Engine. The environment will feature a vast sandy landscape with a city in the distance. The scene will be bright daytime rather than sunset, and may eventually involve large-scale events such as explosions or smoke clouds on the horizon. I’m envisioning a warmer palette, but leaning more toward natural desert tones rather than the deep orange look of Blade Runner 2049.

The subject will primarily be filmed in full-body shots, with framing ranging from wide to medium-wide. The goal is to maintain believable midday desert lighting across the entire body.

The footage will be captured at 50fps and conformed to a 24fps timeline to create slow-motion movement throughout much of the video. Camera movement will likely consist of either locked-off shots or very slow slider moves.

One thing I’m unsure about is lighting. The final environment won’t necessarily be heavily hazy or dust-filled, and the subject will likely be filmed clean without practical haze.

Current gear:

* Fujifilm X-H2
* Fujifilm XF 16-80mm f/4
* 2 × Neewer CB100C COB lights
* Neewer RGB660 Pro II
* 90cm parabolic softbox
* 2m diffusion fabric
* RGB tube lights
* RGB pocket lights

A few questions I have:

1. For a bright daytime desert environment, how would you approach lighting a subject that will later be composited into the scene?
2. Would you favour a large diffused source through a scrim, or a harder directional source
3. If the sky in the final environment is overcast rather than clear desert sun, how much fill would realistically be present?
4. Would you lean toward side light, back-side light, or front-side light for this type of scene?
5. If the subject is shot clean with no practical haze, would you still light as though there is atmospheric dust in the environment, or keep the lighting more neutral and add atmosphere later?
6. What would you say are the biggest mistakes people make when trying to achieve a believable Dune / Blade Runner 2049 style composite?

Interested to hear how you guys would approach it. Thanks!

I’m planning a music video and would appreciate some advice from people experienced with Unreal Engine virtual production, compositing, and lighting.

I’m looking at creating a cinematic post-apocalyptic desert environment inspired by Dune and the Las Vegas sequences from Blade Runner 2049.

The plan is to film the subject on a green/blue screen stage and composite them into a CG environment created in Unreal Engine. The environment will feature a vast sandy landscape with a city in the distance. The scene will be bright daytime rather than sunset, and may eventually involve large-scale events such as explosions or smoke clouds on the horizon. I’m envisioning a warmer palette, but leaning more toward natural desert tones rather than the deep orange look of Blade Runner 2049.

The subject will primarily be filmed in full-body shots, with framing ranging from wide to medium-wide. The goal is to maintain believable midday desert lighting across the entire body.

The footage will be captured at 50fps and conformed to a 24fps timeline to create slow-motion movement throughout much of the video. Camera movement will likely consist of either locked-off shots or very slow slider moves.

One thing I’m unsure about is lighting. The final environment won’t necessarily be heavily hazy or dust-filled, and the subject will likely be filmed clean without practical haze.

Current gear:

* Fujifilm X-H2
* Fujifilm XF 16-80mm f/4
* 2 × Neewer CB100C COB lights
* Neewer RGB660 Pro II
* 90cm parabolic softbox
* 2m diffusion fabric
* RGB tube lights
* RGB pocket lights

A few questions I have:

1. For a bright daytime desert environment, how would you approach lighting a subject that will later be composited into the scene?
2. Would you favour a large diffused source through a scrim, or a harder directional source
3. If the sky in the final environment is overcast rather than clear desert sun, how much fill would realistically be present?
4. Would you lean toward side light, back-side light, or front-side light for this type of scene?
5. If the subject is shot clean with no practical haze, would you still light as though there is atmospheric dust in the environment, or keep the lighting more neutral and add atmosphere later?
6. What would you say are the biggest mistakes people make when trying to achieve a believable Dune / Blade Runner 2049 style composite?

Interested to hear how you guys would approach it. Thanks!

I've got a 16:9 project where I've overlaid letterboxing to achieve a 2.39:1 frame. So the active image area is 3840x1608 inside the letterboxing, while the timeline resolution remains 3840x2160.

I'm trying to export only the active 3840x1608 image area from the Deliver page using a custom resolution, but it's exporting incorrectly with black borders around the image.

I'm trying to avoid changing the timeline resolution to 3840x1608 because it affects how certain effects like vignetting behave/look.

Any advice on the proper workflow for this?

EDIT: The letterboxing is created using an adjustment clip cropping the top and bottom over the entire timeline.

Do you prefer exporting videos letterboxed inside a standard 3840x2160 file, or cropping the bars out entirely and exporting only the true active resolution instead?

Seeing both approaches used professionally lately and curious what people prefer for YouTube delivery.

This is for a music video.

Do you prefer exporting videos letterboxed inside a standard 3840x2160 file, or cropping the bars out entirely and exporting only the true active resolution instead?

Seeing both approaches used professionally lately and curious what people prefer for YouTube delivery.

This is for a music video.

Do you prefer exporting videos letterboxed inside a standard 3840x2160 file, or cropping the bars out entirely and exporting only the true active resolution instead?

Seeing both approaches used professionally lately and curious what people prefer for YouTube delivery.

This is for a music video.

I’m considering buying a CINMOORE wireless security camera from Amazon, but I haven’t been able to find much reliable information about the brand.

Has anyone used these cameras? I’m mainly wondering about app/privacy concerns, known security issues, or suspicious network activity.

I’d appreciate any firsthand experience or advice.

I’m considering buying a CINMOORE wireless security camera from Amazon, but I haven’t been able to find much reliable information about the brand.

Has anyone used these cameras? I’m mainly wondering about app/privacy concerns, known security issues, or suspicious network activity.

I’d appreciate any firsthand experience or advice.