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Chance Shirley

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    Birmingham, AL

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  1. I love film, but this example is nicely shot. The two things that still bug me about digital are clipped highlights and rolling shutter, and I do think I see a little of both in your example. For a more apples-to-simulated-apples approach, maybe take a look at "Knives Out," where the filmmakers went out of their way to get a film look from a digital camera. I think they got really close. On the plus side, digital is often better than film for low light situations. And Red now has a semi-affordable camera with a global shutter. So as soon as they get those highlights figured out,
  2. Another update: the 25mm, 50mm, and 85mm primes still available, along with the zoom. Also, I just found my adapter that allows for mounting Arri-B mount lenses on an Aaton-mount 16mm camera. These seem to be hard to find these days, so make me an offer if you're interested. Photo of the adapter: https://1drv.ms/u/s!AqJuGMR4C7hqkhmuB8UqyrgeWXlX?e=0juFXV
  3. Oh! I hadn’t even thought about it being an artifact to keep things title-safe for CRT monitors, but that totally makes sense. And I have indeed noticed it on some Academy format movies, where there are black bars on all four sides of the frame. So I guess even when we get "original aspect ratio" on our home video releases, it isn't always 100% original. Thanks for explaining, David!
  4. Since we're now blessed with home video releases that are presented in their original theatrical aspect ratio, I've noticed something odd in several older films: title sequences with a different aspect ratio than the rest of the feature. I've attached a couple of examples from Thunderball. You can see the frame from the credits is windowboxed a bit, so it isn't quite as wide as the frame representative of the non-credits scenes. Thunderball is a specifically interesting example because it has a pre-credits sequence. So the movie starts out standard Cinemascope, then the frame narrows a bit for
  5. Update on this: I've sold some lenses and the Aaton camera kit. So the remaining items for sale are Optar Illumina 25mm and 50mm primes, the Angenieux 15-150mm T3.1 zoom, and the Zeiss 85mm prime. Asking $1,000 each for the lenses.
  6. A good hat. I like a cowboy hat for summer, but anything to keep the sun off your face and ears will work. And I like a knit cap/toboggan for cold days.
  7. Yes, the Illumina primes are still available. Feel free to email me at chance.shirley@outlook.com if you'd like more details. Thanks!
  8. Hi, David. Yes, the Angenieux is still available and it does fully cover Super 16mm. Feel free to email me at chance.shirley@outlook.com for more info. Thanks!
  9. I’m selling my Aaton LTR 54 camera package and six lenses. I’m located in Birmingham, Alabama, USA. The camera (serial no. 1096) is factory-original Super 16 and features a nice internal black and white video tap, purchased from and installed by Visual Products several years back. In the kit: two mags, three batteries, Aaton charger, right-hand grip, and a solid case. The camera was last serviced in 2010 and hasn’t been used much since then. It is in generally good shape. Only two known issues: the rubber film guides in the mags have dissolved (this is apparently a common problem and can
  10. I find the opposite to be true - the more I learn about filmmaking, the more I enjoy movies. If a movie has a good story and good characters, I enjoy that, while also enjoying the actual craft on display - the cinematography, special effects, costumes, and production design. If we're just talking about plot mechanics, the "Save the Cat" plot points can be overdone. But it seems like I see less of that these days. Maybe I'm just accidentally picking non-"Save the Cat" movies? Anyway, even if a movie uses standard plot points, for me the journey is where the fun is, not necessarily the dest
  11. I've had a BMPCC4K for a few months now. Bang for the buck, it's an incredible camera. My minor gripes: I occasionally see some strobing with some non-pro light sources (assuming this is because of the rolling shutter), batteries don't last long (I'm eventually going to get a more heavy-duty power source), and the LCD is hard to see in bright daylight (though no harder to see than most other LCDs). Also, last I checked, the raw data recording options aren't compatible with Adobe, so I've been shooting ProRes (which looks pretty great). But you would have some of those same issues wit
  12. In my experience, ADR isn't that much more difficult than getting good location audio (which is also difficult). But, as they say, your mileage may vary.
  13. > On the low-budget it can be quite difficult. Sure. But everything about low-budget filmmaking is difficult.
  14. You should record reference audio. Even noisy reference audio will be a huge help to actors trying to loop their lines later. I also like to get "wild" audio takes on set. Basically, do a couple of takes with the camera. Then do a couple of dialog-only takes (without the camera running, of course) while the scene is still fresh on the actors' minds. I'm always surprised how well wild takes sync up with picture.
  15. "I personally feel like it's harder for films to impress me after learning all that I've learned about the filmmaking process, but the ones that DO actually hit all of those marks allow me to enjoy them even more. It's like I have higher expectations now, but I can appreciate good films even more because of it." I will only add... when I see a bad movie now, I might dislike the movie, but I have sympathy for the filmmakers. Because I have some understanding of the many things that can go wrong while making a movie. I'm impressed that anybody ever finishes a feature, especially a low-bu
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