Samuel Berger

What's the standard audio recording equipment for shows like this? Netflix shows usually have good sound. It's when I watch SyFy series that I cringe at the audio.

Good memory. Nope, still haven't been able to save for one. It's now been almost two years.

Strange that it's hard to find information on this show, it's very recent and was shot in 2016-2017. IMDB mentions the F55 as pictured, and says Cooke S4/Mini lenses were also used. The DP was Michael Balfry, CSC. Maybe the show being made in Canada helps obscure any info about its production. "A" camera operator was Andrew Coppin and his name appears on some monitors in the BTS videos. First AC was Jesse Vance.

It looks like someone picked up some miniature buildings and mecha from BLADERUNNER's futuristic L.A. and put them on their shoulder. It's interesting that even in the pro world there isn't a one-step solution, that people have to build out kits to that degree. Any thoughts on what kind of Angenieux that might have been? I imagine it's hard to tell from that pic. Anyway, here is a shot from the episode where Miranda crashes a Youtuber's autograph session. Look at those crazy rigs!

"Haters Back Off!" is a very unique oddity. I first became aware of it through my daughter, who seems to be on top of whatever is popular at the moment. She tends to predict trends among young people quite accurately. Well, one day I caught her watching this on Netflix and after watching some of it, I told her it was probably not kid-friendly. She then pointed out it was in the children's section of Netflix. I was surprised to see it was true. There was something unsettling about it. So I watched the whole episode with her and I realised then that it was the awkward camerawork that was unsettling, not the silly humour. "Haters Back Off!" is a nightmarish rendition of what it is like to be truly subhuman in an incomprehensible world: it shows a victim of incompetent (albeit caring) parenting and her inability to understand the society she inhabits. The protagonist, Miranda Sings, is infantilised by her mother and uncle, both also lacking in sufficient self-awareness, and dreams of being famous because, after all, it's what she believes she deserves anyway. And it's all played for laughs. Treacherously shot in British Columbia when it should have been shot here in Washington (It takes place in Tacoma after all), the weapon of choice was a Sony F55. I don't know how much work it was for them to get usable images out of a pair of Sonys, but it worked. The look is inspired by the film NAPOLEON DYNAMITE and it shows. Here is the trailer. Would you agree that most of it looks like it was shot on a 24mm lens? This is the awkward frankencamera shoulder rig seen in most of the behind-the-scenes footage. Anyone familiar with this rig and what all is in it? Just curious. Seems to have a lot of stuff! Although the show is considered a single-camera sitcom, there were actually two cameras running at all times. I really love this show. It looks like the Sony F55 they used had a sensor size of 24x12.7mm and my Ursa Mini 4K sensor is 22mm x 11.88mm. I imagine the 24mm would look about the same? Thanks for any info on this, it's my favourite sitcom at the moment.

I love Cinelab, no complaints from me. I encourage you to keep trying to contact Rob and sort it out, because, if you are planning on continuing with film, your best bet is to keep using them. They're my go-to lab.

Thanks Macks, it seems you're right. I know those cameras are good and will work for someone else. Just not myself due to my situation changing so dramatically.

Back in the Fall of 2017 I was planning to produce a film in 16mm, sometime in the Spring of 2018, so I geared up and had Bernie O'Doherty overhaul my two Eclair NPR cameras and convert them to Ultra 16. I also purchased 8 film magazines and had him overhaul them. Everything looks and works great. I had him work on lenses as well. But, as some of you know, things didn't go as planned and the cameras are just sitting there. I spent a LOT on them. What I'm thinking of doing is selling them. I can't see myself ever saving up the budget for that film again and I have to live in reality. The problem of course is that I will never make on them the amount I spent. So I'll be losing a LOT of money. I don't know if I should sell them or hold on to them. If I ever do make that film, it won't be for several years. I've learned to be okay with digital instead of film because in the end, I'm not rich and I can't find financing. I'd rather be shooting digital than shooting nothing due to having no money for film. Is there a formula for calculating whether I should sell these cameras? Ha. I might have my sister sell one on eBay to see if anyone reaches my price. But even if it sells, the loss will be substantial.

I don't come here as often anymore but I wanted to drop in an congratulate Tyler on getting this thing done, loving seeing it come together! When will you be in Seattle next?

Does anyone know what cameras they use for shows like LIV AND MADDIE, COUSINS FOR LIFE, BUNK'D, etc? If I'm not mistaken, the stuff produced by Mar Vista use FS7s, but that seems to be for features. My kids were watching some older Nick sitcoms and they seem to hold up pretty well!

Any relation to Bill Irwin the mime?

It was sold Suddenly, Last Summer. Yes it came from Bruce from Aranda. Interesting, I hadn't checked this forum in a while and I check in today and find out someone posted on my old thread the same day.

I hear the weather in Switzerland is like over here in Seattle, so I imagine there is little film made because the sun never comes out...sigh.

Unfortunately I disliked the look and some of the acting so much that I couldn't get to episode 6. Acting was pretty awful too. It was like a bunch of actors got together to exercise their craft, but without real purpose or motivation.

Well it looks like some folks are getting it and scalping it. Interesting. Some are asking for $2500...

Thanks David! Do you like it? I actually have an Ursa Mini 4K, it's just harder to steal location shots with it. Plus that Angenieux 25-250...

I just want to say I really appreciate Michael's post above as it probably says near everything that needs to be said and it's also good advice for anyone new to making their own movies.

Because I'm an idiot. I should just have made my feature film on my BMPCC. But I didn't because back in the day I'd seen projected 1080p footage from Canon 5D Mark II and Rebel T2i cameras and they looked awful so I just assumed the BMPCC would look equally as bad on the big screen. The 5D/T2i filmmakers looked embarrassed during the screenings, because the image quality was bad even if the films weren't. But BONEYARD screened in NYC and no one is saying it looked bad, so now I feel stupid.

I'm guessing it's the Youtube compression but I'm seeing a lot of banding and artefacting in the darker shots.

I know someone shot a horror flick on the BMPCC that ended up in a festival in NYC. I'm wondering if BMPCC footage looks embarrassing in a theatre or if it just looks like S16.

They're probably creeped out because you talk about porn all the time. ;-)

Robin, any idea what NHK is shooting on? They seem to use a lot of Varicams...

It's my belief that the best camera I can possibly get for my particular needs is the Canon C200. But I've been saying that for a year and the money has simply not appeared for it, so...

We're going to see it here in WA next Friday, I saw on another thread that it was shot on S16. I'm really looking forward to it after I saw the trailer.

I'm thinking that it depends on what happened to their supply chain in the last five years and whether they were happy with their Ektachrome at that time. I wasn't happy with their VNF, that's for sure.