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Landon D. Parks

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About Landon D. Parks

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  • Birthday 06/06/1988

Profile Information

  • Occupation
  • Location
    West Chester Township, Ohio
  • My Gear
    GH4 w/ vlog, Atomos Ninja Flame, Tascam DR-60, Full camera support and grip, basic lighting package.
  • Specialties
    Directing, Producing, Cinematography, Editing, Visual Effects.

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  1. I currently have the JTZ follow focus system, which provides a fine throw on my Rokinon CineDS lenses... However, when I use my smaller handheld setup with my Sigma 17-50 lens, the focus ring on the lens is only about 45 degrees, which results in a terrible throw for the focus wheel. I was looking into some of the JTZ extension arms that provide different throws, for example, there are 1:1, 1:1.5, and 1:2, but the idea of what they do is seeming to fly over my head. If I attach a 1:2 extension arm to my follow focus, does that mean the throw will be 2x what it was prior, essentially making
  2. Personally, with the advent of what amounts to basically 'free' industry level software, and the huge amount of online video tutorials --- I'd not pay to go to school or take paid training courses. I'd get the equipment you need and the software, and then play with the software while watching some online videos. There are tons of 'intro to resolve' videos on youtube, and a lot more 'general color grading' videos that apply cross platform. A lot of color grading, like filmmaking, is about opinion and art as much as it is about technical ability. Color grading, from a technical standpoint, r
  3. Last time I made a post like this it got into a heated Mac vs. PC debate... So with that said, I AM biased toward PC's going into this --- so just know that. Basically, performance to price, a PC will be a much better option than a MAC. Yes, there are some used Mac Pro's out there that are still good -- but Apples lack of really powerful hardware and their instance to 'build everything into the motherboard' means that whatever NEW apple you get, that is all you are ever going to get --- there is no upgrade path other than buying a new system. Resolve relies heavily on GPU, so don't ski
  4. Why would it look embarrassing? It's 1080p material, so how it looks is going to come down to the cinematography + color grade, which has nothing to do with the camera. Resolution wise, it'll look like every other 1080p/2k originated material - and there is a literal TON of it in theaters. Most theaters still project at 2k... And no, I don't think it will look like Super16 film... I think this is a detail of the pocket that many people can't get around --- just because it's a super16 sized sensor, does not mean its going to share any picture quality characteristics with super16 film. 16mm
  5. When they said September, I expected September 30th, AKA, October. They have made that mark, and a lot of people already have production models in hand. It's a slow roll out, and if you didn't pre-order it might still be a month or two before they come in stock for immediate purchase. I still haven't received mine yet. Just like I said, they'll make their release date (which they did, more or less), but it will have backorder issues. Although I will say, every bit of footage I have seen from it has impressed me ten-fold. The two I ordered will definitely become my A and B cams, with the two p
  6. There could be whole books written about what is real vs. not real. What exactly makes digital 'not real' and film 'real'? Is 'real' something you can hold in your hand? Yes, you can hold a painting - but you're not holding the paint itself - you are holding the canvas it was painted onto. Is that really any different than holding a DVD that a 'digital' movie is on? How so? As you can see, philosophy is pretty deep. It could be argued that the CCD/CMOS chip that captured the image is 'real', therefore digital is 'real'.
  7. $400 plus shipping. Includes like-new Atomos Ninja Flame recorder, 5 x hard drive caddies, Sunhood, 2 x Batteries, D-Tap cables, power adapter/chargers, USB-C caddy reader, all in red 'pelican' style case. Recorder has less than 100 recording hours on it, and was used as an occasional B-cam recorder with a GH4. Everything works great. Total value, new, is probably around $1,000. Need to offload it quickly for new equipment purchase. Can accept credit/debit cards via Square. Shipping is from Cincinnati, Ohio and will be charged at actual shipping charges, plus any insurance amount
  8. What does 'cinematic' mean, anyway? People use that term like its some kind of 'standard' that everyone needs to live by - yet I have never seen a straight answer that everyone can agree on. Here is a secret: 99% of 'straight from the camera' footage looks like crap. 100% of the 'cinematic' stuff you see has been touched by a really good color grader. In the case of this footage, it doesn't look 'bad' to me - or even un-cinematic. It's a little sharp for my taste, and the lighting seems rather harsh. They were clearly going for a 'look' in this clip. Look, I have seen utter crap looki
  9. I don't think the more-than-1-GPU issue is really that much of an issue. My PC has two 1080ti's in it, and I use Resolve 15 exclusively now - moving only to after effects for motion graphics. To test their theory, I rendered out the same project twice - once with both my 1080ti's in, and once by pulling one out. The test included a standard TIFF export of a 4:00 min CinemaDNG raw material at 4k -and- rendering of a 3d composite from within Fusion (which is now built into Resolve). My results: 1 GPU 2 GPU Standard 1 m 3
  10. Best of luck. That sure sounds like a VERY expensive computer though for editing. I just got through editing 6K Red footage for a client the other day, and had no playback issues, and this is all on a sub-$3,000 PC system. I also do a lot of rendering with Fusion, and to some extent Element 3D - and have found that a single 1080 ti is plenty - though I have two now simply because Blender and iRay render faster with more GPU's. Is there a reason you need a computer that powerful? Would it not be more advisable to spend that money on upgraded film equipment? It just seems like its overkill for
  11. Selling my B-cam GH4 system. In like-new condition, with less than 300 recording hours on the camera and recorder. No dead pixels, etc. Includes: Lumix GH4 w/ VLOG license installed Atomos Ninja Flame recorder Complete Atomos ‘red case’ kit, includes 5 SSD mags, sunhood, power adapters, batteries, etc. Will ship worldwide, and can accept payment via check/money order -or- via credit/debit card (via Square). Sorry, cannot accept Paypal. Base price is $1,200. Free standard shipping within the continental US - actual shipping charges everywhere else. This is a great price, as
  12. From someone who is currently working on a project that is heavily chroma-key dependent, I'll chime in here: First, shooting this outside could actually be your friend vs a studio. The sun is an amazing light source - but you'll likely need some bounce cards to bounce some of the light to fill in shadows and clean up 'green wash' on your actors and props to make keying easier. Second, your better off with a 10-bit or even RAW recording with full 4:4:4 when shooting chrome key work. This is because unlike with regular film making, its not just about highlight roll-offs, compression art
  13. You need to get an agent or a producer representative, depending on what stage you are at and what involvement you want. If you have a script that you want to pitch to them for them to produce, you need an agent. If you have a packaged product to submit to them as a producer, you need a producer representative - although if you already have an agent they might be able to negotiate a pitch meeting as well. The reality is, just like in the book publishing industry - you need an 'agent' of some type to get accepted into the big leagues. It's just the way it is; like the book publishing indust
  14. The reality is: even with an open submit policy, the acceptance rate was about 1/10 of 1% of submitted projects. If you want to get the a project produced through them, or anyone, you need to go to them directly.
  15. It depends. In editing, if the source material is anything other than RAW, it's transcoded to DNxHR 4:4:4 10-bit for edit. If it's RAW, I'll usually keep it that way. As for capture, If I'm shooting with the GH4, it's always VLOG-L, recorded to DNxHR 10-bit 4:2:2. If I'm shooting with the Blackmagic Micro, it depends on what the end result is for: 95% of the time I'd choose raw, since I don't bother with ProRes and would have to transcode to DNx anyway. I never touch that highly compressed, consumer codec stuff like H264/H265/etc. If I get that, it's trans-coded to DNx on ingest. Most of th
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