Adrian Sierkowski

This sounds like a discussion you should be having with the director; who in the end, is the one to put their name on the scene especially in terms of the edit. And no matter what time of day you can almost always play with shadows in one form or the other.

indeed.

Normally I'd just run them through Resolve to DnX or ProRes if you can.

All but one of the Prequel Star Wars was 1080p. But nothing to feel stupid about. Generally, always better to down-rez, but to be honest, I don't think most people would notice 1080p or 2k footage being any different than anything else out there-- especially if the story itself is engaging enough.

You really want a Mini or an Amira-- if only for the build in ND filters! Now the Mini- no problem, can hand-hold all day long, so long as you get it balanced pretty well. The others-- well, Sure, you COULD, for a day, maybe, but parts of you will really disapprove as soon as wrap out. As for lenses, honestly, I'd look into a S35mm Zoom. They are expensive, sure, but they will have a lot more longevity (well, maybe not, depending on how this race for lager formats plays out) than an ENGHD Zoom. Though if price is an issue, yes, there are adapters. Make sure you get an optical one as the old HD zooms were designed to work with a prism block which, of course, the Alexa is missing. This causes some---- interesting--- artifacts on single chip cameras as you open up and if you're wide. Worked fine when I did it with an SD zoom on a Pocket camera but they were going for an ethereal (e.g. screwed up looking) look.

I'd recommend 3Pin XLR. Just easier, honestly and still a beefy cable.

Hair conditioner smells better. . . Just keep it out of your eyes.

if you're gonna dim a Tungsten or Incandescent (halogen) bulb- no worries; it'll warm up orange as normal. LED, well it'll depend on the LED but I'd not be worried about using any of the "main" professional LEDs (Arri, LiteGear, Quasar, Digital Sputnik, or Kinoflo). Generally i'm not a fan of dimming HMIs (though Of course I have when it's faster/easier on myself or the crew to get a few points off a 4K or what have you)

Also of note; the chances of damage increase not only with the number of times X Rayed but also with the film speed. e.g. a 500ASA stock will be much more likely to eventually show some build up of the base fog layer -v- a 50ASA stock. That said, in all my years carrying film (even 1600ISO stills film) I've never had an issue with it being x-rayed. Hell technically the higher up you are in elevation the more gamma rays you're exposing it too as well and technically that too could build up base fog-- but in reality, the effects are so minuscule its really a non-issue in all but the most extreme situations.

Well; when you think that film is "deposited" on top of the base-layer as "some gunk" in essence; it can happen. But; man, those were the days. I miss hearing "good gate moving on." Also we used to lube the film pressure plate/gate with the grease from the inside of your eyes/nose area ;) Or so the ACs I've had in times past have done.

Certainly relevant if you happen to be shooting film; though it's more an AC thing than a cam op cinematographer thing. I still have some in my bag-- though anymore I use them to clean myself up at the end of the day.

https://www.filmtools.com/celoflex48x50.html

In Sydney; I honestly wouldn't know. Here In La we just put it on the rental and or expendables order. Most expendables shops, catering to film, should have it, but I haven't a clue where to look in Sydney for it.

Cello is your best friend in rain. Also, I personally like swamp boxes/wood under most connections. Keep Ballasts dry, and honestly, when it's raining, bring those LEDs inside.

The T stop is the "true" stop an your meter will be reading that-- hence setting a "t" stopped lens to 5.6, if your meter tells you to will give you the proper exposure. In almost all circumstances it makes no difference between T and F stops as most will be within about 1/10th of each other, or so. It only gets hairy when dealing with zooms and some older lenses.

Probably get as good a deal on any S16mm system honestly (and I would argue there's a reason that particular camera never really went out)

Just curious why you'd want to use an Elaine. It never really was a go to camera for 16mm needs, and Panavision should have plenty of SR3s, SR3HS, 416s and Aatons

I wouldn't do HMIs; I'd do a lot of tungsten heads all on flicker boxes-- or quite a lot of skypanels, on fire FX.

I have shot with the D-21! HA! Ok the D21 was a very nice camera. But; there are 2 main issues I can see using it. It is heavy-- VERY HEAVY, which, back then wasn't as big of a problem as it is today-- but we've tended so lighweight these days that even getting tripods to support it will be very expensive (you're in O'Connor territory here). It also is 24V so you're looking at block-batteries, again, rather expensive. j As for recording; we did it ProRes to a KiPro back when that was a new thing. No need for ArriRAW ,honestly. If you wanted RAW you should look for a an Old Codex or, I think it was the called an Si or something similar-- but honestly, just pop a question to Arri about what recorders can handle it-- there should be a few around. If you want it, go for it, hell why not. It's a bit of a bear but I liked it.

Far-Side Key. 32mm Lens. White-Balance for daylight set to 7~10K (depending) Good, Static, Long (duration) shots to let the actors act. not shooting the ever-living crap out of a scene. but that's in those rare instances where I got to really work with a director and they agree. Sometimes I'm lucky and I'll get a director to agree with me that all the scene needs is one really good wide.

Remember, though, just because it has a good CRI doesn't mean it's going to look good in terms of an LED light. It's easy to get a great CRI with LED but have awful awful color on camera due to the nature of an LED spectrum. You really need to look for a TLCS (i think that's the proper acronym) which tests a wider range of the lights output to make sure the spikes in color don't kill you.

Dedo lights are also very very helpful.

Possibly. Though rarely have I had this happen to me even with permits. Normally we'd have to get on the horn to locations if/when anything went wrong. But if they already approved the project, what's the worry?

I really want to be turned into film-stock. But, when/if they ever ask if you want the hole "double deep," just say no.

You'd want as much light as possible on a normal lens in order to increase your depth of field akin to how you'd be further away from a full sized object (and thus have more depth of field). On a 10:1 scale I would probably want to be around an 11/16 for a T stop. Thankfully we're digital now so I'd say look at the monitor and see if it feels like it's properly "in focus" compared to how a real tree would look .