Jump to content

Eric Lin

Basic Member
  • Posts

  • Joined

  • Last visited

Everything posted by Eric Lin

  1. Hi. I’m interested in seeing pics and pricing as well. Please send: eric@eric-lin.com. Thanks.
  2. Hi forum. Has anyone out there sold their Alexas in the past? Is there any official way to transfer ownership? The only place I've ever actually plugged in a serial number into anything official with Arri was on their arri.com site under "register Alexa Customers". Is there any other place I'm supposed to register the camera if I buy secondhand? I'd appreciate any help. Thanks! Eric NYC DP
  3. Hi all. I'm shooting a short soon and the production designer wants to use LED Linestra bulbs. I'm always worried about LEDs pulsing on camera. We're shooting with an Alexa at 23.98, 180 shutter. Has anyone shot these bulbs on Alexa? Please let me know if you had any problems. Trying to find time to test but prep is super tight. Thanks! Best, Eric Lin NYC DP
  4. Hello all! I'm prepping for a short and we are planning on shooting Orwo N74 35mm black and white negative. We got a Panavision package and will be shooting tests next week. I've read a lot about some of the negative pitch problems Orwo has had in the past (causing jams) and it seemed to differ from camera system to camera system. Some of those reports were based on the 16mm stock, so I'm writing to see if anyone has any first hand knowledge of shooting Orwo N74 on a Panavision camera? We are doing a test next week but because we're getting a great deal on everything we won't have access to the camera as soon as we would like and our test will happen close to our shoot date. If there is a problem with the stock we need to be prepared to change tracks radically. I'd love to hear your experiences with Orwo N74 especially with Panavision and modern Arri cameras. Thanks! Best, Eric Lin NYC DP
  5. Hey there. I'm shooting a music video with multiple Canon 5Ds mark 3s and we want a strobing effect. In doing research, I found that the Atomic 3000 can adjust the length of the strobe to minimize the effect of rolling shutter half-frames when lights strobe. I haven't worked with these lights before and I won't have a chance to test it so please share your experiences! Thanks! Best, Eric Lin NYC DP
  6. I'm assuming this issue was addressed in the later firmware updates (7.0.2) correct? I'm shooting 2K 16:9 Prores right now and just saw this. Eric Lin NYC DP
  7. Thanks for the leads. I got some homework to do!
  8. Hi all. I'm starting prep on a feature that has a lot of musical performances (a band playing a few songs in a club). I'm looking for inspiration! Mainly, I'd love to hear references for films that have memorable or innovative ways of shooting musicians and or band performances that really helps give accentuate the music they are performing. We have both fun, rollicking songs and quieter acoustic numbers so I'm interested in hearing the range of styles from verite concert photography to really polished choreographed shots. If you can think of any, please send them my way! Thanks so much. Best, Eric Lin DP NYC
  9. Thanks David. I appreciate the reassurance. I'm looking forward to talking more soon too! Eric Lin NYC DP
  10. Hi all. I am prepping for a project coming up in which there is a dialogue driven night driving scene through a small town/country road. We are scouting now and want to feel the street lamps, passing cars and see the practicals on in the world outside the windows so decided not to do poor man's process and will get a process trailer. There will be three angles: a frontal shot from the hood, and 3/4 angle Medium close-up coverage from the corners of the hood (where we will see a little bit out the side windows behind each actor). However, we have an idea to have the headlamps of passing cars pass by at key dramatic moments. When doing poor man's process in the past, I've rigged two tweenies onto a dolly and have it pushed past the car as the lights pan and dim up. For this I was thinking of just rigging some Tweenies onto the process trailer and dimming them up and panning them as you would on when doing this poor man's process style. I was thinking of putting the headlight gag rig on the camera car to get as much distance as I could but I'm worried I can't get the angle for off enough from the center of the picture car to make it feel like it's coming from the next lane over. Also, with the fact that the gag lights are not on a dolly and will be panning from a fixed position worries me that it won't sell. Has anyone else tried to do this light gag while shooting on a process trailer? I'd love to see examples if it worked. I'm worried about being able to get enough distance with the headlight gag rig so that it will sell the effect. Any tips on how to improve this idea to sell it better would be much appreciated. One note, the director is comfortable with having the gag play on the driver's CU angle even though ostensibly, you should see a car go by through the window after you see the light gag plays on that angle. I would really appreciate any ideas you might have. Thanks so much. Eric Lin NYC DP
  11. Hey all. I might have an upcoming indie project shooting in Oklahoma City in the near future. I'm NYC based and it will be my first time out there and I would appreciate hearing any positive experiences with great indie narrative crew that you've had in OKC. I'm looking for good recs for a gaffer, a key grip, and ACs. I'm a chill guy and I run a chill but focussed set and hope to hear about folks who are professional with positive attitudes and good ideas (what we are always looking for, right?). Also, I'd love to hear about the vendors who you've worked with before. Thanks so much. Feel free to PM me too! Best, Eric Lin NYC DP
  12. Thanks Oliver. Super helpful! Best, Eric Lin NYC DP
  13. Hi all. I have a shoot coming up with the Alexa in the Adirondacks in February where temperatures will be below freezing. Has anyone shot with the Alexa in extreme temperatures? Did it behave well? Did you need to do anything special to insure that it performed well? I'd appreciate any advice from your experiences. Thanks! Best, Eric Lin NYC DP
  14. For future reference from my colorist friend if anyone is curious: - DLP projectors typically use a rendering technique called error diffusion dithering, which enhances color rendering, but results in shades being averaged over multiple on-screen pixels. This can mask single-pixel details when there are only small differences in shade between adjacent pixels, as is typically the case with image noise. LCD screens, in contrast, will typically display an input signal pixel-for-pixel.
  15. Hi all. I'm a DP that is prepping an Alexa feature. I've shot small screen stuff with the Alexa but finally had a chance to do a real color corrected test in Deluxe's color timing suite projected via DLP. We color timed some tests I shot using Prores 4444 to SxS cards in LogC. I was floored by how good the Alexa ProRes footage at 3200 looked! There wasn't as much apparent grain in the image than I expected. Here is where I got a bit curious. On a regular computer monitor (laptop or even my 23" mac HD monitor), the Pro Res files of footage shot at 3200 are very grainy with and without the LUTs applied. You can really see the noise on a smaller screen but not so much off the DLP which is not what I expected in terms of the noise of the image. I certainly don't expect the two to look similar but just in terms of noise in the high ISO footage, I expected it to be much more apparent when projected. I expected the grain to be more apparent when projected simply because the footage is being enlarged. But it really wasn't the case. Blacks were fairly solid. You certainly saw an increase in noise but it wasn't nearly as close as grainy as what I was seeing on my computer monitors. They assured me no noise reduction was being applied. Is it just the limited color and contrast range of the LCD monitors that make that grain so much more apparent? I'd love to hear anyone's insights. Thanks so much! Best, Eric Lin NYC DP
  16. As always, thanks for the great insight David. If we get the D-21 I'm hoping to restrict it's use to 2nd unit day exterior stuff so the difference in look isn't too jarring. Does the D-21 with a limited dynamic range suffer in available light exteriors? Is it a sensor that is best for controlled studio situations where lighting is controlled? Depending on the look, I'm leaning toward only using it if our Alexa falls in the lake. We don't have the resources to light interiors to 250 ASA (we got some big spaces) so I'm going to squash the idea of using it as a B-camera in interiors.
  17. Hi all. I'm curious if anyone has had experience using the D-21 as a B-camera to the Alexa for two cameras covering the same scene. I've shot on the Alexa but not the D-21. We are a low budget shoot and might be able to get the D-21 as a second camera. Given the older sensor and lower sensitivity of the sensor, how difficult is it to get the two sensors to match in daylight scenes? In tungsten scenes? I'd appreciate anyone's experience. Thanks! Best, Eric Lin NYC DP
  18. David, thanks for the great advice, as always. Your fancy horizon idea is inspired. For poor man's I've only always done moving lights, never actually trying to create a background element. I hope to get a chance to try it. Though in this case of creating a BG or in just lighting up the background, do you think audiences will miss a sense of motion in the BG? Double boats should be easy to get and will be a big time-saver. Thanks again!
  19. Hi all you lovely people. I'm shooting a feature this summer with a few scenes that involved kids rowing a boat at night with a fair bit of dialogue. The setting is a tourist summer lake town upstate so at night I imagine things to be pretty dark in terms of available light in the background. It's an indie film on a budget so we can't afford to bring in big guns to light up the lake, etc. I'm imagining doing some combination of practical shooting for wide shots and some sort of poor man's process where we we fake the movement of the boat at night outside or in some sort of studio like setting. I'd appreciate any advice or examples of similar setups that people can provide, especially any pitfalls people encountered. ASC had a great article on WINTER'S BONE doing something similar and that's what I'm basing my approach on but would love to hear alternative ideas. I haven't scouted the location yet but our main location is a large lake house with a small dock, so for the wides maybe doing some lighting from land out into lake is one idea for the wide shot. Any advice would be super helpful! Thanks! Best, Eric Lin NYC DP
  20. I shot a short on Double X a while ago with both controlled interior lighting and available night street exterior lighitng. I think I rated it at 160ISO just to get a slightly thicker negative. I didn't end up pushing it because I already thought it was a fairly grainy stock, especially since it hasn't been updated in forever. You'll notice the grain most when a lot of the image is in the middle gray exposure zone which I did in a restaurant scene with a lot of brick walls in the background. I think the best way to get the level of contrast you want is to control it with your lighting. I got stuff I liked when the lighting was contrasty. I'd certainly test it before deciding to push it to make sure you like the look, since it's an older stock, I wouldn't expect it to hold up as well as modern stocks.
  21. Thanks for sharing CSmith. Great to know! E.
  22. One other Alexa Studio question: Does anyone have experience shooting with strobe lights with the mechanical shutter? Does the mechanical shutter reduce the split white frames that comes along with rolling shutters on digital sensors? We are thinking of playing with strobes and curious if it gives you half frame flashes of white. Thanks. Best, Eric Lin NYC DP
  23. That spot looks great! So just to confirm you shot 2x anamorphic output to SxS cards and just cropped it in post to get 2.35? We're also thinking that is the way to go. Did you shoot Alexa Plus or the Studio? Were you able to monitor an unsqueezed 2.35 image on set? Thanks for sharing! Best, Eric Lin NYC DP
  24. Thanks all for the confirmation. I had trouble finding the specifics in the Arri Documentation. Thanks Georg for pointing me to the news section. I talked to CSC in New Jersey and they had mentioned they were working on the new update but apparently not close to releasing into the wild even as a beta. Thanks again. Best, Eric Lin NYC DP
  25. Hi all. I'm shooting a music video next week and was looking into the possibility of shooting anamorphic on the alexa studio which it seems perfectly suited for. I heard however that the Alexa Studio requires the Codex recorder to record the full 4:3 frame of information even if you only want ProRes and not ARRIRAW. Can anyone confirm? After digging through the specs, I suppose it is because the SxS cards are only equipped to output 1920x1080 files and can't handle the bandwidth of information from the larger sensor? We are a low budget music vid so renting two codex's along with two Alexa studios is out of our budget range. I guess I was just surprised that the Alexa Studio must rely on a 3rd party solution to utilize it's foremost feature. Tell me I'm wrong! Best, Eric Lin NYC DP
  • Create New...