Zakaree Sandberg

turn off overheads.. fly as many 6x6 or larger frames of ultrabounce or maybe even a softer source.. hit them with each with 2ks maybe 3 per side (replicate large tennis court lights) this is the cheap way..

Im a DIT in the BIG commercial biz, so i can only speak of digital format... but RED ones have been replaced by EPIC on most of the larger budget shoots. I still do Alexa but it went from 50/50 (red one/alexa) to 70/30 (epic/alexa) F35? damn... 5 years ago called.. they want their boat anchor back..

dont know original prices

I think it went baltars, super baltars, cooke panchro/ kow cine, then k35 was more towards the end of BNCR and into PL

I have a full set of CINE PROMINAR 20, 32, 40, 50, 75, 100 (on the lookout for a 25) These lenses are less dramatic and less retro looking (in image quality) than the super baltars. I have found the kowas to be sharper than the baltars as well I love these lenses, but would be more hesitant to use them on commercial work... They work amazing for narrative shorts/features. On digital sensors like the RED (which I have) I prefer older glass such as the kowa's or panchros, not the tack sharp "medical" looking modern lenses. I got real lucky with these lenses. bought them spur of the moment when i saw they were for sale. without doing any research (ballsy move), but I fell in love with them.

I own a set of kowas. love them. they are the exact opposite of super baltars.. baltars are warmer, with a cool flare.. kowas are cooler, with a warm flare.. id say the kowas are in the zeiss standard speed color range.

Originally my plan was/is to key from a "moon light" source, which would be coming from the large french doors (with blinds or satin). I was going to bounce a 1200 or 2.5k off ultra bounce, and let that flood into the door windows. Inside the room I may or may not have nightstand lamps on (I would dim them down as to not throw too much light from them) (reason is because later on in the scene I will have the room door open, and I need nice tungsten light from the hall to spill in and light up the actors over key. PROBLEM: This shot is scheduled during the day! So my only options are to scrap the larger light/ultra bounce Idea, Black out the windows, and cheat the key from inside the room with a joker 200/400.. Or build a box around the windows/doors and still light from outside the doors. Does anyone have opinions or what you would do?

Alexa...ive really started to like everything about this camera. alexa if you have the budget. MX if your low budget

Project a real movie on a silk in front of the actors... projector - silk - camera- talent then have some rim light on the chairs to separate.. some back light coming from above

what everyone else said. Check your computer (make sure it can handle the footage).

exactly. thats what I mean.. i shouldnt have said SAME.. but equivalent

I am not a mod anymore. i never edited words out of peoples mouths either when i was... and also i agree with you. there is no problem learning about the good and the bad, however... just as long as people understand that the bad is a temp thing. the camera will always be under construction, which is awesome

agreed. if your going to test.. have the same parameters

god, i havent posted here in a long time.. but i feel compelled... ever since before the release of the camera, certain people .... have been bashing it and trying to discredit. I find these post enjoyable in a sick and twisted way, because those words simply do nothing!! The camera is out.. its proven.. and its working on sets that you unfortunatly are not. The guys who feel threatened by this equipment are just hurting themselves. Are you afraid that gear is going to ruin your career? in the long run, you will be outdated and will either have to give up or give in. Im starting to think most of the hate posts are made by certain competitors who should really feel threatend.. anyways... nab08

He blew the 1080 footage to 4k then took it down to 2k and took the red 4k image and took it down to 2k