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Adrian Sierkowski

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About Adrian Sierkowski

  • Birthday 09/03/1983

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  • Occupation
    Cinematographer
  • Location
    Los Angeles, Ca

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    http://www.adriansierkowski.com

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  1. I liked to check on them on longer productions. Especially since not ever hmi was playing every day, and it really annoyed me when I would notice the color shifts lol. But I also get annoyed by the slightest flicker of a light
  2. Whenever you had multiple HMIs on set I'd often meter them and use +/- green to get them all to match (HMI changes color as the bulb ages). Would also use it when i'm in an all florescent lit area (think supermarket) when you cant change out all the globes, you'd get the correction filter, throw it on the camera and then gel your film lights to match the overheads. I don't really trust a monitor on set in what is often questionable viewing circumstances for color accuracy, when you need it to match, you still want to meter (light or color to be honest). Before, fine-tuning was done with gels and camera filters as well as at the lab/telecine. You'd often shoot color charts and grey cards so the colorist would adjust to that (and not the rest of the scene-- for example if you want things blue you can throw CTO on the key for your color chart, they will cool it down to neutral at the lab, and boom, the rest of your scene is cooler.
  3. Something like a Redhead or a Blonde or a 1K Nook is what I usually will reach for, if power is not an issue and you're running distro. On the LED side it would depend on how you can get it up there, but ideally you'd want something with an internal ballast, maybe a Vortex 4 with the dome diffusion
  4. Saw it over at cinegear and it was fine. Very similar to my 18~35. I think it's really it's affordability which is nice. Not really something I'd want to use on a proper shoot but for quick and dirty things, might as well. Will probably be a steal in a year or so when it starts popping up used.
  5. It wouldn't matter really. The log isn't broadcast it's just extra room to correct to 709 or 2020 in post. It's no different than going from neg to print stock which also will loose some information. The 16 rule is just to get you an acceptable final viewing image. It doesn't matter if your log or rec, that will only effect how much information you are recording in you highlights and shadows, but my middle grey, which is what the rule and even a light meter is exposing for, will still be middle grey.
  6. I would say that in real life is better than online for schooling. But I don't know the programs at all. I do know there might be some shooting up in Oregon next month that maybe you can swing onto as a pa. Don't really have specifics but a grip mentioned it to me in passing.
  7. If you're a student then network with other students. Work as much as you can with them on as many projects as possible. Keep an eye on Craigslist for things that come up, staffmeup as well. Go to things like cinegear and network.. Reach out to the unions just so they know you exist. Get coffee with people.. Carry a lighter on set. Go to film fest, and screenings when you can. Check out Facebook groups that might interest you. Partner up with directors who will finish and stand with their work. If you're extra ballsy listen in to cafe conversations and join if ever appropriate. Most importantly keep at it and keep your mental health, well healthy; it's rough but worth it. I literally have no idea how I got to where I am and even though it's not glamorous and I've done nothing if note, it usually pays the bills.
  8. It's all just math. Since most digital doesn't go down to 50iso you'd just have to math it to whatever you're iso is. For example, an. Alexa at 400 iso would be a 3 stop difference. So you could throw an ND.9 in and be at f16 or shoot at a t32 (which I haven't ever seen on a cine lens). This is of course assuming you are keeping your shutter speed at 1/50th. Of course with most digital cameras you have a monitor and false colors.
  9. That tuner is certainly something I would want to rent and play around with. I'm looking forward to it getting more out into the market. As for the original question; my biggest concern would be re-tuning the lens if needed! Honestly, for the price to de-tune you might as well rent something else and if the lenses aren't rocking with what you like, maybe a better idea to sell and buy up some that are. Lenses are nice in that they really don't seem to loose to much value despite how old they are (and in fact the older ones seem to be worth more).
  10. I just bought a 6KFF "Cinema" for a Doc I fly out to next Monday, and to be honest, I would rather it be the new Pyxis camera. The addition of SDI is great and has been much overdue, as has the TC in port. The Dual CF-Express as well is a vital feature if you are doing any kind of interview or filming which can't be stopped as easily (the idea of using USB to a external drive is a failure point that I'm glad I can avoid with cards). The ability to have a VF (even if it costs 1/2 as much as the body!) is also amazing. I'm also betting we will see 3rd party options for VF using USB-C in time. I think it's a great upgrade. I would have prefered an interchangeable mount, but I guess with L Mount that doesn't really matter. I think the screen on both the new Ursa and the Pixi camera, as I'm calling it, is a little silly-- I would have preferred something more akin to what you get on an Alexa with quick access to settings vs a video display. I do hope there is a LCD lock feature so you don't fat finger or fat face it. As for frame rates, Rarely do I have a personal need for higher than 60, to be honest, mostly everything I shoot is at 24 or 23.97. I think it's a great new upgrade, even if I'm a little annoyed that it rendered my just purchased 6kFF... well basically worthless. That said I'll be picking one up and I'm thrilled at least that most of the accessories I got for the 6KFF will transfer over to the Pixi camera-- Minus the cage and Vmount/GoldMount stuff I got. Apparently their new sensor stuff is in the 12K, which makes sense. I don't think I've ever been wont for more dynamic range out of a camera in ages. If anything when I'm on something like the new Alexa 35 I'm personally a little overwhelmed with the 17 stops and I don't always like the notion that exposure choices I make on set can be so easily.... undone, in post.
  11. Kino used to make a ring light, the kamino, I think? It's been awhile but that was a popular little thing in the 90s. Kino Flo Kamio 6E Fluorescent Ring Light System - consists of: 6E Ringlight, Cable, Mounts, 12V On-Camera Ballast, Case - ENG - NO Tubes - 20 Total Watts (12V DC) https://www.bhphotovideo.com/c/product/578057-REG/Kino_Flo_Kamio_6E_Ring.html
  12. As for it not being in post, my main argument would be that of control and intent. Often I am not in the room when they are doing coloring, for a myriad of reasons, so being able to get as close to the final look you intend on the day is rather important. Not on Arri, but I did a series of videos with a director in Canon LOG, and the final edit, put out.... was still in LOG! These types of things happen, often because those in post just get used to looking at the image as is, and sometimes make choices based upon that. This said, I'd rather give them an as is as close as possible to what we wanted it to look like. As for the black arts that go into Arri image processing, perhaps it's nice to still have some magic hidden from our minds (and besides they'll probably never tell us what the parameters are. Perhaps we should take to calling Arri Textures the "KFC" pack, for the secret herbs and spices.)
  13. My pleasure. If you're interested, here's a simple day int set up with just 2 lights. Natural sunlight on the large paper windows camera right, then a totally naked 600X for the hot spot in the background. On the close ups, just a 300x with a Litedome 150 played right off of camera at I think something like 10~15% FX3, Base 800/ Cine EI 500, and something like a 2 or 2.8 with 1/8 bpm. I think white balance was around 6500k, but i don't really remember. This also really isn't the right LUT for it, but it's all I had to get it out of SLOG since I don't have studio resolve. This is through lightworks which somehow plays back XAVC and with whatever Venice LUT they had built in the free version of lightworks
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