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  3. I am.gonna be shooting at 800 iso. It will be either lumapanel or led lights. If it's gonna be led lights, it would be around 400 led bulbs in a lantern. It won't be a match to luna panel, but I think it should do justice to the ambient fill
  4. Blast away! What do I need to take out, what's strong, what do you like, what don't you? Take no prisoners. Feel no shame. This is just my art, it doesn't define me as a person. alexdavisdp.com alexdavisdp.com/reel Cameras used: RED Weapon, RED Dragon, RED Scarlet, Sony F5, Arri Alexa, A7sii (some, kinda not really. lol) Lenses used: Zeiss ZF.2, Zeiss CP.2, Zeiss Standard Speed Mkiii, Zeiss Super Speed Mkii, Angeniuex 25-250 t3.9
  5. Please excuse my honesty here, some of this may come off as somewhat harsh, but I think there is some good stuff here if you edit the piece down. The film is graded well, the mood is very cinematic and there are only a few instances where the shots look over cooked or have too much contrast to fit with the rest of the film. The edit pacing is way too slow, and I feel like a lot of what you are communicating here could be done in a more stylized approach in the middle, smash cutting to the next day. Check out the way they achieved this in the middle of "Edge of Tomorrow" - very similar in terms of a repeating day with small differences, but since you have already established it once through, you can respect the audiences time and keep it short, give them the info they need and then deliver the final scene where the meat and potatoes lie. Cinematography is pretty good, you get the feeling of claustrophobia at points and the loneliness is pretty obvious but overall I think it takes too long to get through and it could very well be 5 minutes long and not 13. There are several compositions I feel could have been better and the sizes chosen start to get a bit repetitive. I can understand the idea of repetition to show monotony, but the way the edit stands currently is just too long and drawn out for me to care about the character. There are no scenes where I feel connection to this loner, who I don't understand until the end. I feel like if you cut out the middle, and got to the downward spiral a bit quicker, you would have something powerful to those who have gone through this. Another thing is that I think the choices made by the actor are inconsistent. Sometimes, he is so small that it is nuanced and professional, but then at other points you can clearly tell he's trying to act. This has a lot to do with the choice of compositions in several shots where the actor is forced to do something that is un-natural, and since we are close to him, we see the expressions even more exaggerated than they need to be. Try going wider as this will make your character feel small, you can trap them in a box and watch them like a rat. These are the feelings you want to think of when composing with a single actor who needs to carry the film. Don't give them too much responsibility to communicate to the audience with big gestures or laughs, as this adds a lot of the forced nature to it and I'm sure he felt he had to be that way because the camera is trained on his face, so he's having a hard time deciding how to act naturally, whereas the profile shots and off eyeline compositions allow the actor to move freely through the frame instead of feeling like they have a camera trained on them at all points. But overall, GREAT JOB, YOU MADE A FREAKING MOVIE AND NOT MANY PEOPLE CAN SAY THEY DID THAT!!!! 🙂
  6. Looks great, did you use any sort of filtration or did you just shoot it clean? I would have gone heavier if you did use filtration, probably like a 1/2 hollywood black magic or a full white BPM to soften out the skin and give the highlights a little more bloom, making them a bit easier on the eyes, or I would have opted for an Angeniuex lens to make those beauty shots really pop. Obviously, the skin tone for the African-american girl is not right, too much green, but as you said, you didn't have control over that aspect. I still think it may have been avoided with the proper choice of lighting. May I ask - did you use LEDs or Tungsten for her keylight? If you used LED I would definitely think that may have something to do with it as darker skin has a tendency to reflect green a lot and when using LEDs, they tend to shift a little more towards the human working visible spectrum, which is green heavy. (The lower quality brands tend to shift even more in this direction.) Whereas a tungsten lamp, being full spectrum, will reflect the skin accurately, and especially with darker skin tones. If you did use tungsten, did you have any negative fill to block stray light from other sources of bounce, like perhaps a green screen on the other side of the studio or a setwall that may have had stray light on it, as these will sometimes reflect enough onto darker skin that it will reflect on the spectral highlights of their skin. The short with the Asian girl is great, her lighting and light direction really compliment her facial structure and makes her hair look really nice. Overall great job! Just being picky haha
  7. "Flat" transfers, maybe they are "log" or just very low-con, will be desaturated-looking since saturation and contrast are tied together. If you don't plan on doing a lot of color-correction, you should get your transfers color-corrected while being transferred in the higher contrast of Rec.709 video display gamma. You'll have much darker shadows as a result but better saturation. Some shots are exposed incorrectly, I don't know why. It seems a bit random. Only use 500T if you don't have a choice because there isn't enough light.
  8. Lumapanels would definitely be brighter. Depends on if the soft top light will be underexposed compared to the hard HMI light, sort of an ambient fill rather than a key. Also depends on what ISO you will be shooting at and how many paper lanterns you are going to use, how far up they are, and what wattage the LED bulb would be, etc. But Lumapanels are brighter by far. Can you do a mix of both?
  9. i am just wondering whether the daylight led would be as illuminating as lumapanels, although fixing the daylight led is not as hard as fixing the lumapanels
  10. Hello! I'm planning on shooting a short doc this weekend, and before I do that I just want to ask a few questions. Here are my test rolls: The first cartridge was 200T and the second was 50D. These were scanned flat: is this the reason they look so .... grey? I like the texture of the 50D but the 200T seems off. Did I overexpose? I shot on a Nizo S560, if that makes a difference. I assume I should get 200T because I will be both indoors and outdoors and won't have that strong a light source, but I don't want it to look so drab. (I'm getting the next project colored, though, so hopefully that will make some difference.) Should I go for 500T? Let me know what you all think or if you have any other advice! Thanks so much.
  11. I am gonna use arri alexa xt with 800 iso with shooting stop at 2.8 and 4 or 4. I a m gonna diffuse the backlight through a opal frost or a 216 filter
  12. Keen to see these grabs
  13. Don't forget you'd need to buy a Lentequip battery for $350 USD and remove the attachment plate to use with the US adapter, so with postage you'll probably be up to 850 USD. Still about half the price of the Finnish one, even with their discount, but then that one has a lifetime warranty and extra D tap or Lemo outputs. It also seems to be an actual product rather than "yet to be launched"..
  14. Oh bummer .. your sure its the exact same camera that recorded to that card .. has to be the same camera .. sorry then I think your best bet is to send them off to Sony ..
  15. Normally don't bother with surveys. But yours was short, so why not. Some of these surveys ask tons of questions and have to give up on them before half way done. I deal mostly with old films and photos. If I use music I pirate old music from the 20's - 30's and hope everyone evolved is dead. Nothing I do is commercial and that is a help too. But mostly just use projector sound for my old silent films. I would consider using composers if I had $$ to burn.
  16. OP, shouldn't you get your numbers in the ballpark before accepting a job??
  17. Yeah agreed. The US one is about $450 USD compared to 1,700 euros... I guess it must be more reliable
  18. that Elokuvakonepaja solution would be one of the "really nice and compact" ones. probably more reliable as well than my Chinese eBay parts
  19. the cost probably depends on how nice you want it to look like and how compact and sturdy it needs to be. if just wanting to get SOME KIND of relatively well working adapter for single v-lock boosted to 24v with proper connector, the parts would probably cost something between 50 and 100 usd or something like that and a handy person could assemble it by him/herself. But that is just me and my DIY solutions, they tend to look like crap but it does not mean they wouldn't work 😊
  20. Latest J.J. production was disappointing. Some of the CGI had issues. And even if perfect, sick of CGI fantasy. Maybe they are getting burnt out on the series too. I'll watch on DVD, maybe if library gets it. But not worth paying $11 for me for big screen.
  21. Sorry, let me start again. This website is hopeless with inserting images (as Ive got screen shots for both regarding more info) I've attached both email from both companies...
  22. Neither of those links have any info or pricing on actual SR3 V lock adapters. Where did you get those prices? The first link to the Finnish company just has facebook links about adapters for SR2s (which are 12V cameras not 24V like SR3s) and a just released prototype for an Arricam LT battery adapter (which would use a DC-DC converter to reach 24V). Nothing about SR3s though. The second one is just instructions for removing the interface of a Lentequip SR3 battery to use on the Rencher adapter (apparently you need to buy a Lentequip battery to use their adapter, so add US$350), but there's nothing on the Rencher Industries webpage itself about any sort of SR3 adapter: rencherindustries.com Oppenheimer Camera make on-board V or Gold mount adapters for Arri 235 and 416 (with DC-DC converters) that sell for over US$2K: http://oppenheimercameraproducts.com/PriceLists/OnBoardBatterySystem09.0116.pdf There seems to be more talk about SR3 adapters than actual products..
  23. Yesterday
  24. As a DP, you're well within your responsibilities to ask what the budgets are for camera rentals, grip rentals, electric rentals, and crew budget. Numbers are numbers and if they don't have enough set aside for you to perform well as a DP, then it's up to you to express concerns over the look. At this point it's managing the expectations of the producer(s) and director. If they want a bigger budget look, then tell them you need x, y, and z.
  25. Please note, these are OPTAR Illumina lenses...my error.
  26. Hi there, I just bought a Arri SR3 and have been linked to two different v-lock kits that convert the original battery holder to take modern day V-locks. My question is, I've been linked two completely different prices, So I'm curious if anyone has any info on both: $2,700 AUD From Norway: https://elokuvakonepaja.com $654 AUD From USA: https://rencherindustries.zendesk.com/hc/en-us/articles/360026049913-Lentequip-LE-R3-Installation-Instructions i've tried to link photos, though this website can't handle any links...
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