JD Burditt

You're definitely misunderstanding what I am saying, I must not be explaining it right. The Resolution of an image is not determined by the pixel dimensions of the image, It's the measurement of information within those dimensions. Yes if you did a 720x540 crop from 4k footage you have the same resolution from the senosor but you're using a smaller area of the captured image. You are discarding part of the image but you're not loosing resolution. It's a terminology thing many people confuse. The pixel dimensions of an image is not the resolution of an image. The only way people usually "Loose Resolution" is to scale up an image or down sample the resolution.

Take a look back at J Van Auken Diagram in his first posting on this thread. The black magic chip size cropped would be very close to super 16. If you're used to shooting super 16 with super 16 glass cropping to 2048x1152 is closer to the FOV of super 16mm film making. If the DP is used to shooting super 16 and calls for a 9.5mm lens its gonna be more accurate to his expectations or visual understanding of how wide that lens is if the footage from this camera is cropped to a more standard format like super 16.

Sound like you might be confusing resolution with aspect ratio. You don't loose resolution when you crop, you loose resolution when you down sample the resolution. If your image is 2048x1152 @ 72ppi and you crop it down to 960x540 you're still at 72ppi What Canon did with the C300 has less to do with Bayer sensor issues and more to do with marketing and dollars.

I agree somewhat, I love more resolution but you're not loosing resolution, resampling or scaling by cropping 2048x1152 from 2432x1366 I wouldn't say there is a price to pay, I would say its a workflow preference. The format is closer to super 16mm than 35mm

I know I am a little late for this thread. I do a ton of post work in the industry. The 2k standard delivery is 2048x1152 - cropping the black magic footage to standard 2k workflows will likely allow the use of nearly all the super 16 glass out there. Cropping into that 2.5k resolution for a 2048x1152 image is also a darn close match to the super 16 format when we are talking FOV of Super 16 objectives. Using the Black Magic for shooting 2k would be very similar to the super 16 format, more so than 35mm objectives on the Black Magic.

Price update: Illumina Optar 8mm - $1050 Cooke 10-30 Zoom - $3500 Angenieux 11.5-138 Zoom - $4900 Angenieux 7-81 HR Zoom - $6200 Aaton XTR Prod - $6900

I keep an eye on what Aaton's are worth. You might be able to get a LTR, a XTR or XTR plus with a couple mags for 4000 but not a XTR Prod. (Especially with this high of a serial) Body is in great shape comes with Two 800 foot mags and five 400 ft mags, its totally worth the asking price even in todays digital frenzy. I believe this one is also Xterà upgradable

Price drop. XTR Prod: 7200.00 Angenieux 11.5-138 - 5000.00 Cooke 10-30 zoom - 3800.00 Angenieux 7-81 HR Zoom - 6200.00

offers welcome

Added another lens Angenieux 7-81 HR Zoom for Super 16 - 6900.00 PL Mount T-Stop: 2.4 Min.Focus: 2ft Front Dia: 100mm http://s1245.photobucket.com/albums/gg595/dz2postphotos/Angenieux_7_81/ Excellent condition. Comes with A&J Flight case. Will probably cover 2k digital but have not done this myself.

Links to images at photobucket email or call JD @ 31zero.663.seven9five6 ------- Angenieux 11.5-138 Zoom for Super 16 - 5500.00 PL Mount T-Stop: 2.3 Min.Focus: 5ft Front Dia: 114mm http://s1245.photobucket.com/albums/gg595/dz2postphotos/Angenieux%2011_5-138/ Excellent condition. Comes with A&J Flight case. Will probably cover 2k digital but have not done this myself. ------- Cooke 10-30 zoom for Super 16 - 4200.00 The rare Cooke 10-30 PL Mount T-Stop: 1.5 Min.Focus: 2ft Front Dia: 114mm http://s1245.photobucket.com/albums/gg595/dz2postphotos/Cooke%2010-30%20zoom/ Excellent condition. Will probably cover 2k digital but have not done this myself. Have A&J flight case that will work with lens. Will need to have foam installed by A&J. ------- Illumina Optar 8mm for Super 16 - 1200.00 PL Mount T-Stop: 1.3 Min.Focus: 10 inches Front Dia: 80mm http://s1245.photobucket.com/albums/gg595/dz2postphotos/Illumina%20Optar%208mm/ Good Condition. Comes with A&J Flight case. covers 2k digital ------- Aaton XTR Prod - 8500.00 Selling my XTR prod. Comes with 5 - 400ft DX Mags, 2 - 800ft Mags XTR Prod body: C2289 Aaton VSA B&W: 241 5 - 400ft DX Magazines: M5362, M5364, M5719, M5840, M6363 2 - 800 ft Magazines: F157, F159 3 on board batteries Battery charger with AC cord Eye cup heater cable Lemo 6pin breakout box Lens and Mag Port Cover plates 2" rods Wood grip Includes 4 A&J flight / road cases http://s1245.photobucket.com/albums/gg595/dz2postphotos/Aaton%20XTR%20Prod/ ------- Thanks

Great work. Shots in the park of the father and boy, slow motion, leaves floating, very nice. The only lighting that really jumped out at me was that dialogue scene between magician and janitor. Other people have mentioned. Around 12:20 or so, the scene with the magician and boy, some of the talents shadows ending up in undesirable places. Easy fix might have been adjusting talents movements. Anyway, Nice work. The film as a whole well done. JD

Nice work. You will probably have better luck if you post in one of these Forums: Students and First Time Filmmakers Jobs, Resumes, and Reels Please Critique My Work Whichever applies. The water mark is distracting. I wouldn't worry about people taking your footage from Vimeo. -JD

I thought that might be the case but your first posting was not so clear and it says HEEEEELP, it came across as uncertainty. I understand, you have a vision and want to get it out and the more you know about all aspects of production the easier it will be to make that happen. I am being presumptive so don't take it the wrong way. Are you sure its not a film director you are moving towards? The reason I bring this up is that there are many people who specalize in certian areas like editing, motion graphics and vfx and those are the people you will compete against for jobs. I do understand learning about many aspects of production and post but when it comes to getting a job it can be difficult. Especially if you are wanting to learn multiple crafts by working for companies who specialize. When it comes down to it its all about getting out there and doing your own thing with the resources you have.

There is a bunch of information here but it is a cinematography based website. Do you know about motionographer.com - that is the gateway to the motion design world. An editor, motion graphics artist and colorist are three different jobs as you probably know. It is good to have knowledge and some experience with all of them if you want to be an editor. You can gain motion design knowledge through books, school and people you meet in the industry. You will learn much about color management in a motion graphics or editorial degree. What kind of editorial you want to do. Commercials? Features? Search out all the good editorial houses and individuals who's work you respect. Once you feel like you have a good amount of knowledge about editorial start looking for the assistant editor job with these companies and individuals.

I would follow the advice closer to that of David Mullen. If you are shooting directly at the sun you do not want to trust a reading that is a half way between the sun and these back lit subjects. The reading absolutely has to go off of what you are getting from the skin. The bounce will give you some room to play. The amount of background over exposure has to play secondary to what you want out of the subjects. This blown out amount can also be increased in post because it lives in the brightness part of the image and the subjects will be in the mid to dark tones. If there is not enough information on the subjects you will loose most or all of your leeway. -JD

Be who you are, not what everyone expects you to be.

Nice work! Thanks for sharing. I am impressed with the amount of good looking work you pulled off in that amount of time. I think the length is fine. The pacing is decent. I do think you could take it further with editorial structure, the when and where choices with the edits. This could possibly show more of the blocking choices made and increase the narrative. I do understand the montage approach and wanting to only show specific shots. With that aside I believe it serves the number one purpose. Good work and good luck out here in LA, JD

Type 7271 - 2,000 Watt Molequartz Spacelights Quantity = 6 All lights come with Silk, Target, Hanging Hardware, Ext. Cords 2 of the 6 silk targets have a couple small holes. Lights are in excellent shape. Ready to hang and power up. -Looking to sell all six at once. 1800.00 $300 /each Call JD 310.663.7956 or jd(at)urabout2b(dot)com

Type 7271 - 2,000 Watt Molequartz Spacelights Quantity = 6 All lights come with Silk, Target, Hanging Hardware, Ext. Cords 2 of the 6 silk targets have a couple small holes. Lights are in excellent shape. Ready to hang and power up. -Looking to sell all six at once. $400 /each Call JD 310.663.7956 or jd(at)urabout2b(dot)com