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Gus Sacks

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Posts posted by Gus Sacks

  1. The 30-105 actually feels more Cooke-y than a 30-80 Rouge would. If it were a 28-76, I'd think it wouldn't be as harsh as a 30-80, but if it's between the two, I'd go with a 30-105. Aluras have that Zeiss-y sharpness. But a 30-105 with some Hollywood Black Magic or Classic Soft alone would do the trick.

  2. I can see a few issues with that.


    The new cost of all those mirrors and stands. Everything else stand the same. We're not losing anything.


    Then the fact you'd need more heads because the light will technically be travelling twice the distance.


    Third, would all require more space.


    Gus... Can't face those heads straight down.


    I assumed it'd be at a sharp angle into the rag - it'll wrap :)

  3. How else would you suggest making a top soft source for a highspeed shoot?


    Let's say we were shooting 2000fps and needed a tungsten based 20x20 softbox.


    What would you do?


    A lot of folks would bounce 10ks or 20ks into fabric, or you could always hang and shoot those units down through fabric.

  4. Hello,


    Looking for some grip/electric crew working out of the Boston Area.


    Short film shooting Sat 15-16 on location in Boston, and 17-19 in Cape Cod. Housing provided for Cape Cod portion.


    In need of Key Grip, BB Grip and BB Electric. Gear coming up from NY with DP and Gaffer.


    Also looking for a Camera PA.


    Rates vary depending on position, non-union short film, but not the worst rates ever. Referrals welcome.


    gus . sacks @ gmail . com



  5. The Alexa gives considerably improved images, and much better flesh tones, very close to what you’d expect from film.


    How could you tell while wearing those glasses? In the theater I was in, it looked terrible. The requisite darkness, paired with the also requisite desaturated/green spike, made it look pretty terrible. Grey skin tones, flat lighting... If I have to see a 3D movie I take off the glasses from time to time when I know 3D isn't in play. When I did that, I did really enjoy the look. It looked a little overly sharp, but that could have been the projector.


    I don't understand why DPs don't stick with post until they're striking DCPs or what have you for 3D exhibition. You'd think they'd mandate some kind of a difference in levels or saturation to offset the glasses.

  6. Get DaVinic Resolve Lite and try and learn it in time. It's a little tricky getting started with the workflow, but when you get the hang of it you'll be able to freely (it's a free program) manipulate the LogC footage and render out TIFFs or MOVs, if your machine is fast enough.


    No idea about Avid - I've poked around with it, but not to really utilize it.





    I'm working a gig next week and it's the first time I'll be working DIT for the ALEXA. They're using the SxS to PRORES 4:4:4.


    I've done DIT for the DSLRs, RED, EX3 and so forth. I'm familiar with SxS cards but is there a specific software to aid in downloading the ALEXA footage?


    I also wanted to inquire about viewing the footage/proxys and possibly importing it into an editing program in case the DP wants to see any minor color/luminance correction. I don't have final cut. I have avid. Don't suppose there's a simple way to import the footage in avid, somehow is there?


    Any information or advice is appreciated. Thanks guys.

  7. Marque,


    What Thunderbolt to PCI adapter do you have?


    Pretty sure the Sonnet Echo XL hasn't come out yet...?



    I custom made my cart so that its narrower and my monitor packs into one of the doors on it.



    BMD Video SmartHub 16

    Cinetal Monitor

    4 BMD HD Link boxes (for LUT control to monitors)

    Apple MBP 15" for processing dallies & for my ultrascope

    Thunderbolt to 2 card PCI adapter (includes my RedRocket card for Red jobs and my ultrascope card)

    Thunderbolt to Express adapter

    Apple MBA for running my LUT software

    various AJA adapter boxes & D/A boxes

    BMD UltraStudio


    I'm sure theres more I'm just not thinking of right now.



  8. Use a Red Station to dump the footage to the hard drives. Use RedCine-X to view the R3D files.


    Super simple. There are a ton of different ways to ingest the media, but once it gets to the computer (or you can review the footage off the SSDs), use RedCine-X or Red Cine Pro.



    Hey guys,


    I am about to shoot a short on scarlet and am wondering what the easiest way for the DIT to dump the footage off the camera's hard drive and onto the computer and then watch it on the computer to make sure none of the footage is corrupted.


    I know I can't just open up the red raw footage on my editor's mac, but what is the easiest way to just quickly watch a file on the onset computer (mac) just to make sure its not corrupted. Later we will do all the proper trans-coding and stuff, but I am just talking quick onset checks.



  9. In the AC article it says Arri 416 with Ultra 16 prime lenses, Vivid 160T and 500T and a lil 7D used for Subway shoots :) Even though I've shot S16 on the Subway a few times, and it looks great :)

  10. Abel Cine Tech no longer rents the SI-2K camera. Nothing against them, we simply no longer carry that model in our inventory.


    That's a bummer. I really liked the work we did with it on a feature last year.

  11. I find something as simple as dialing up Saturation to 1.2 or 1.3 in camera (yeah, I know it's meta-data) has a much, much more pleasing image and skin-tones than if you leave it at 1. I figured out why the first few projects had grey skin-tones once I did...

  12. I've got a few features, shorts, whole bunch of things I'm DPing the rest of the year. My usuals might not be available and I'm just looking to expand my lists.


    So I'm looking for Gaffers and Key Grips who'll work for the indie 150/day. For Gaffers, experience lighting for film and familiarity with some out of the box lighting ideas and using not exclusively movie lights would be a plus.


    The rest is pretty much standard 'round these parts. Shooting in NYC and its surrounding areas.



  13. Does it have a global shutter?


    On this website (vision research) the shutter type is listed as 'electronic rolling blade' - which implies a rolling shutter, unlike their other cameras which are listed as having 'electronic global' shutters...


    Copy that - I'll amend my post. Was mistaken with the Flex. Definitely not the same camera.

  14. -_-


    The RED's listed resolution is 4,520 x 2,540, but you're only going to be able to shoot in either 4.5k 4,480 x 1,920 or 4k 16:9 at 4,096 x 2,304, and you'll have to shoot in RedCode 36 MB/sec.


    I'd say the Phantom's also a great option, shooting in 4k 16:9 at 4,096 x 2,304. With proven 14 bit depth.

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