Chanel pantyhoes11/30/2023 ![]() ![]() The hoop allows you to pull the net tight and even, and the 4″ ones fit into my O’Connor O-Box over my Zeiss Standard Speeds quite nicely. There are various way of front-mounting nets, but I found a simple embroidery hoop to be very easy and effective. Feel free to share what you’ve used in the comments.Īs for mounting the nets, Mako Koiwai has a great, simple video demonstration on how to rear-net a lens. I actually just ordered some while writing this post. The word is that Diors are no longer being made, but the Gennia 10-Denier RHT from Secrets in Lace are supposed to have almost the exact same effect. I’d love to get a hold of some classic Dior or Fogal stockings even the lightest department store hose are a bit on the heavy side. Here are some stills from the film, all with the rear-mounted AUS: We ended up using the AUS (Hanes Absolutely Ultra Sheer) mounted to the rear of the lenses for most of the shoot, switching to the Small Tulle in front of the lens when a more subtle effect was needed. DK10 = Donna Karan 10-denier black pantyhose.DK7 = Donna Karan The Nudes, 7-denier black pantyhose.CK7 = Calvin Klein 7-denier pantyhose, charcoal color.AUS = Hanes Absolutely Ultra Sheer black pantyhose.Small Tulle = Similar fabric but with tighter weave.Big Tulle = Black tulle fabric I found at JoAnn.I didn’t want to order some online and risk not having time to test, so I decided to make a trip to my local fabric and department stores and get a few samples of the sheerest fabric I could find. These specific types of stockings can be rather tricky to track down. As you can see in my tests below, the effect can get strong quite fast, so in order to not overwhelm the image, the finer the fabric the better in most cases. These are often used because there are very sheer with very fine threads. When discussing stockings in regards to cinematography, two types that frequently get brought up are Christian Dior 10-Denier black stockings and black Fogal Noblesse #110. So, before committing to a certain material, I wanted to test out several different options to see how the looks varied, and make an informed decision on which look was most appropriate for our specific project. Of course, different types of fabrics produce different results. The result is an out of focus image laid over a sharp image, which is the basic result of practically all forms of lens diffusion. The fabric causes some of the light traveling through the lens to bend, while allowing the rest to travel straight through. “Net diffusion” is simply the practice of placing a thin, net-like fabric, often stockings or pantyhose, in front of or behind the lens. It seemed like some sort of net diffusion could be an excellent tool in achieving our specific look. When shooting digital, I am always interested in ways to add texture to, or otherwise dirty up what can sometimes be a too pristine image, and director Alex Le Bas really liked the idea of getting soft, bloomy highlights. McGarvey also used nets behind the lens for the scenes of Briony’s childhood in Atonement, giving a romantic softness to the images. His use of net diffusion, such as in Minority Report and others, lends a particularly unique texture to the image. One staple of Kaminski’s work is his expressive use of lens diffusion. We wanted to bring a classy “Hollywood” feel to the film and looked a lot at Janusz Kaminski’s work with Steven Spielberg, as well as Joe Wright’s Atonement, shot by Seamus McGarvey, ASC, BSC, as references. I recently had the pleasure of working with the Alecies, Alex Le Bas and Alex Brisker, on their new short film My Friend Jenkins.
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