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M Joel W

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  1. I'm out of my depth here, but I have found that on an overcast day bead board and silver reflectors throw enough light for a decent offside key for CUs and then you can set up a solid on the other side and as close to the talent as will still be out of frame for close ups to give a bit of shape to the light. Even a 4x4 floppy will probably get the job done I think and be fast to move? Bring it right to the edge of frame and it should do quite a bit. Of course contrast filters will also be an interesting option for black and white. I think Schindler's List and the Lighthouse used quite different, possibly opposite, colors for a romantic vs more masculine and dreary effect. Nicely shot movies lol. I have been working a bit with Schneider Cine-Xenons (the poor man's Cooke S2) and their rendering is dull on overcast days. So you might want to use a matte box and mattes as they're intended to be used to bring back some contrast as those old coatings that look so nice in high contrast scenes will wash out in the day. In my world this means gaff tape around the lens lol, but a matte box and mattes would be good, too. Again, out of my depth and coming from a guerrilla background, but it might be impossible to achieve a 4:1 contrast ratio on an overcast day. And even if you can only do this in close ups, it will not match the wider coverage. So I would just do what you can. Lastly, composition is more important than lighting in most cases. Of course the two are related but if you can compose the images nicely and control the light relatively well that will probably be fine. A hard light like the aputure might prove too sourcey to intercut nicely. Try that really reflective bead board (they sell it here at Home Depot and at grip shops) and the silver side is very punchy. You can bounce into that or try putting it close to the subject and use the sky as bounce. It really works. For sunny days I put the sun behind the character (or just off to the side to avoid lens flares) and then cheat the characters slightly in close ups to improve the angle of the sun on their face. Again I am from the super guerrilla world but rather than using a frame to diffuse the light I like to bounce it back from the opposite side, and not even entirely as fill so much as slightly opposite the light so it has a 3/4 back light look. You can also put a bedsheet below the actor for his close ups to fill a bit more, too.
  2. Here it is... was very difficult to get a photo.
  3. I have two lenses where they have one tiny little patch of fungus. As soon as I got them, I isolated them from the rest of my lenses. Is it safe to store them with my other lenses? If I zap them with high power UV will it kill the spores?
  4. Also I believe there's less negative area than 3 perf Super35 cropped to 2.4:1? Because the native aspect ratio of 2 perf when using the sound strip is 2.67:1? So you need to crop the sides a bit.
  5. There's a $7k SR3 Advance on RedUser, but that price seems much too good to be true.
  6. William, I'm impressed by the work on your website. What approach do you take to halation? Is the reason everyone is using an Alexa because it has the second most dynamic range to film? The first image looks more like film to me.
  7. M Joel W


    Yes, I recently have been using the EVA1, S1H and S1. Panasonic seems to have an edge on ASIC processors. The image is very good from all of them and they don’t consume much power. It’s pretty amazing. A7SIII also looks amazing. Dynamic range is on par with cinema cameras. Pretty impressive what you get for the money now.
  8. Looking for 9.5mm, 12mm, 16mm, 25mm in AB mount. Okay if you don't have a 12mm, I already have one, but might just buy the whole set. Not in a rush to buy. No PL mount adapters wanted. Also interested in 50mm f1.4 Contax in Aaton mount.
  9. M Joel W


    I am no longer in the market for a camera such as this, but I was recently thinking about it. I think my dream camera would be somewhere between a K3 and an A-Minima, only quieter, and compatible with daylight spools. I was also thinking how useful and affordable Tokina's APS-C 14-20mm f2 zoom or 11-20mm f2.8 zoom would be on an EF-mount adapted K3. But of course the K3 is too loud for sync sound and is not crystal sync. I wonder if it's possible to manufacture an Aaton mount to Nikon adapter compatible with gelded lenses such as the Tokinas and use these on Aaton mount XTRs for instance. Anyway, I'd love something like that designed to take 100 foot daylight spools but also quiet enough for sync sound and with some sort of timecode or guide track for sound. Because I think once you get to the level of an XTR or SR3 it's already a larger production so forget competing with that (or 200 foot or 400 foot magazines) unless you're really planning to go all out. But a quiet b camera even with a digital finder like the Logmar could be nice. Maybe I just regret missing out on the Ikonoskop A-cam when it was available. It looked pretty cool to me. It is interesting how expensive reflex Bolexes are today. I was looking at a REX-5 and converting it to super16, but the prices were too high and I went with two other cameras instead. But I think this reveals that there is a market for small S16 cameras if so many people are looking at REX-5s. There's no way to make this quiet enough for sync sound I imagine? That would be really cool. I also want a dSLR form factor Amira lol. I want things that don't exist.
  10. No. The film grain pattern is too random. You won't have issues with moire as you might with a digital camera where it's a grid shooting a grid. However, if you are shooting mosquito nets or something where there is moire visible to the eye, it will appear on film, too, of course.
  11. The new Xelmus lenses look really nice and probably a lot cheaper than some bespoke solution at $12k each.
  12. I'm surprised the GH5s is better in low light, the 2500 ISO on the EVA1 is not bad and the camera has a big sensor. (It's also not great.) I would try them out and compare, it might be closer than you think or even in the EVA1's favor. From what I understand V Log and V Log Lite look pretty similar in terms of color, but the EVA1 has two stops more highlight dynamic range in the highlights. So I'd look to use the EVA1 for the wides where you might have more contrast and then the GH5S for the close ups. Or just be cognizant of the two stops less dynamic range. I've been working with the S1 and EVA1 and with V Log the image is quite similar. Colors are a bit different and the look is a bit different but I think they'd intercut well enough with minimal adjustments in color... The S1 suffers from aliasing in full frame mode with some fabrics, though, but it looks better in S35 mode to me. Also at 4000 ISO it's super clean! Another good option for a B cam and a cheap rental.
  13. Looks like it was shot on film. The first candle shot is composited digitally. The candle reflections don't fade out and the halation around the wicks doesn't change as the candles fade out. Some sequences are step printed. Probe lens in the second candle shot and the last shot looks like a composite of some sort also shot with a probe. Prisms/glass bowls in front of the lens but I can't figure out what he's using for the water/ripple effect.
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