Aapo Lettinen

that's a price for a 10 lens set or so?? for normal shooting one needs about 3 or 4 lenses so it can't be that expensive. with Lomos something like 400-500 a day. Here in Finland you could rent about 15 pieces of S4i anamorphics for that price including VAT and I think a 6 lens set of Master Anamorphics would be cheaper. OR renting some Panavision stuff. The 416 with anamorphic viewfinder would be great for shooting anamorphic in 16mm. Maybe just renting the whole package for anamorphic stuff and using owned camera for spherical stuff?

If the sun is overly harsh you could add nd gel + diffusion on windows?

No worries I just understood the question differently and replied based on that ^_^ I tend to keep some plastic bags and watertight cloth +clamps in the camera bag all the time so it is easy to make a temporary rain cover out of them if it suddenly starts to rain. I have attached velcro to the sides of the cloth and mattebox so that it is easy to attach it quickly to the mattebox and the rest can be handled with clamps. Not necessarily super practical in all situations but very quick to use and so small that you can transport all the materials in your pocket :lol: I am also using this with more expensive cameras like FS7 when needed

of course it is better to buy the dedicated camera cover if you have possibility to do that and you'll need it very often. I thought that the options were a self-made cover + possibility to get great shots today, or drive to a shop to purchase a factory made cover + miss today's shots because of the time loss. rain covers are no splash bags however and don't protect from waves so if you are just trying to protect the camera from rain and small amounts of flying seawater, the self made cover may work just as well

it kind of depends, splashes can be difficult and plastic wraps may restrict shooting quite a lot... but you will get great shots for sure so it'll be worth it anyway :lol: it is very good idea to use a filter on the lens though, any filter or clear glass which can be cleaned every time it gets water on it will do. You can use lens cleaning fluid (rosco etc.) to ease wiping the water off, I tend to have a blower bulb with me all the time in these situations and just blowing the droplets to the sides to clear the filter. if you don't have a pro rain cover for the camera you can use plastic or watertight fabric and, if it's not too windy, attach it to the camera with the same kind of clamps used for attaching gels to lights

you can ask the art dept to put some loose fake snow to the window frame and frost the glass a bit on the broken area. that helps to sell the illusion even if the white balance is a bit off (snow coming inside from the broken window...) :) I tend to light this type of stuff with silk frame + hmi from outside if camera does not see outside the window, and white bounce + indirect kino or hmi fill from inside but that's just me and you can use whatever suits the look best. A "cloudy day look" with fake snow may be enough. you may want the window light to spread at wider angle than natural light does, that's why I like soft hmi light in these situations, but that works best for ground level 1st floor shooting of course

DPs can be very controlling in pre production if necessary but on set it is better and more productive to just trust the gaffer and mostly give the necessary suggestions/guidelines how the scene and shots should look, light direction+motivation etc. with as little technical details as necessary. Nothing's more annoying than a DP harassing a good gaffer with continuous unnecessary micro management if they already know what to do ("use two clips for that gel and three for that" etc...) A good gaffer can very well manage by him/herself if just knowing what kind of look you are after and which shots and angles you need + other basic info. it's a bit same thing with the directors who want to control everything lighting/grip/camera related technical stuff and not letting the other HODs to do their job... It may be different if you can't get a good experienced gaffer, only some basic student lighting crew... then you may have to be your own gaffer and choose the most experienced spark to be a best boy. but that takes lots of time from camera+director related stuff so I'd advise against it unless absolutely necessary or if you have 3x more time for the shoot than usual. ( I've had relatively inexperienced crew most of the time in indie shoots and had to do gaffer things in addition with the DP stuff, you sure can wear both hats but it is often very slow compared to having a separate experienced gaffer on set. the DP should be more of a creative person than concentrate on purely technical things which can very well be handled by someone else)

OLED, ultra HD and at least 55" is the minimum I would say. have not bought any new TV yet but maybe next year ^_^

most 77mm diopters should work. I normally buy large diopters, like 82mm, and use step down rings (the Chinese ones from eBay, very affordable) to use with smaller thread sizes but the 77mm ones are slightly cheaper, so if you don't have any 82mm lenses you should do fine with the 77

do you have any sync sound and which type of moves you are intending to do with the camera... would it be possible to use a gyro stabilizer to help with the vibrations? (I'm meaning a Kenyon type spinning wheel gyro stabilizer, NOT a gimbal)

some Super Takumar flares, that is one of the cheapest ones, the 55/1.8 : https://vimeo.com/37566512 this Helios 44 has anamorphic adapter in front of it but the circular flares happen similarly without it, only being less stretched: https://vimeo.com/9909943

which lens mount you use? you can try some Russian lenses (for example Helios 44M does the circulars easily wide open) and Super Takumars if M42 is OK for you (can be adapted to EF easily)

did you ask from Orwo directly? they have a minimum order quantity of about 10 or 20 rolls if I remember correctly but it should be available if they still manufacture it ( I mainly shoot 35mm so don't know the current 16mm stock availability)

one addition would be to use different lighting style for her for the other character so that the nose profile and eye sockets look different. for example normal frontal beauty lighting for other and top/side lighting for other, combined with different eye makeup and different eyebrows and eye colour etc.

do you have budget for good makeup artist who can alter the faces just a little bit around the cheeks, mouth and nose? you can additionally use coloured contact lenses. and tint the eyebrows lighter/darker for the other character or otherwise alter them so that it gives an impression of differently shaped eye sockets

I would not trust anyone without DIT experience to do the downloading and backups, a screwup costs easily 20k + and may go unnoticed at first so that it is impossible to reshoot... Paying more for specialized top pro people is for having smoother and faster workflow with still possibly better end result. it is mainly about saving time and depending on the production this can be more or less important compared to financial aspects (saving time can save money but in small budget shoots one may have "free" extra time available so that things can be done in high quality even with limited money by just donating more time to the finishing)

I handle tons of C300 mk1 50Mbps material at work and it usually looks fine when graded properly, even for 2k DCP output on big screen, but the codec is very bad and blocky when underexposed so you have to be extremely careful in low light. definitely take something with a higher bitrate, preferably prores or raw if possible. The F5 is a lot better camera than FS7 and depending on the specific FS7 body there may be a huge difference in noise levels, even something like double the noise on FS7 compared to F5. the FS7 is otherwise quite handy camera, just don't expect it to go any further than about ISO 1000 in low light. But if you can get a raw capable external recorder to it like Atomos or 7Q+ then it might be quite good choice, then you could take it a little further because you wouldn't need to worry about underexposing slog which may look bad in some situations. if you are on a budget I would maybe take the A7S2 for the low light capabilities. but as Tyler said it is in any case much better to have some additional light in the first place so that you can control the shadow detail and also won't have as much problems with the huge contrast between flames and shadow areas which is hard for any camera, especially when dealing with low color temperature (very underexposed warm shadow areas --->huge underexposing of the blue channel---> very noisy and blocky blue channel which is very difficult to restore and needs lots of noise reduction and dealing with the compression artifacts, to the extent of having completely unusable blue channel which you have to blur to get usable image)

the C300 mark1 also has 4k sensor, it just processes the output to fullhd. I would take the Mk2 for sure

almost all the professional editors I know like to edit feature films from dit's proxies with LUT applied and maybe 2.35 /2.39 bars if necessary. normally something like ProresLT fullhd or prores proxy. the last time the editor used Avid and wanted fullhd dnx36 files. It is just that editing has to be smooth with minimum transfer times and logistics and that is usually easiest if having smaller files with LUT already applied and downscaled to HD so that they can be easily played back and edited even with a basic laptop if necessary and they don't need huge amounts of RAID storage to edit directly from the camera originals. Editing generally does not benefit a lot from using very high quality originals unless you are doing the post by yourself and don't have time for online. But editors love to just receive a portable drive or two including all the materials and to send the XML and low quality playout and move on to the next project when finished. It is just saving time of the people who cost more per hour and don't have the time to do all the finishing and additional work which is not their territory and can be easily managed by technical personnel. It's like letting the directors to carry sandbags on movie set instead of having them to plan the next shot...

most of the lower budget features I know of which are shooting with Alexa shot Prores 444 or XQ instead of RAW. it is just that the visual quality difference is so small that it rarely justifies the added workflow difficulties and cost of arriraw shooting and post prod, especially if there is multiple cameras. this is for most of the "low budget" features under 10M budget and almost all the Finnish features where the average budgets are between 1 and 3M€. most of the directors are happy to shoot more material and get the dailies faster than to have visually 5% nicer looking image. effects stuff etc. is of course different matter but for example drama, comedies, family films benefit a lot from the simpler and faster workflow. wavelet compressed raw like Red is relatively easy to process and natively playback but it is still much more time consuming to make dailies from and playback and grade. Nine days for xavc footage sounds like complete madness, did the DIT have a 486 as a computer or was it 10 camera reality shoot with tons of cards? Tyler mentioned earlier some customers requiring full top notch color grading of the dailies, was that the case because the rendering itself clearly does not take that much time? or was there a requirement to make all the dailies with top notch grade and highest quality debayer and downscale so that the rendering took forever because of that?

We use this type of Chinese hdd cases, they are similar model than ICY BOX ib-ac602a (probably copied from those) but 6 times cheaper and almost similar quality, only the plastic is just a tiny bit more fragile but not a problem in most situations http://www.ebay.com/itm/3-5-Dustproof-Protection-Box-Case-For-SATA-IDE-HDD-Hard-Disk-Drive-Storage-New-/192028760914?var=491706032150&hash=item2cb5ce5b52:g:1IQAAOSwA3dYKYlS

this is for about 30TB - 100TB per production, if you have productions of for example 3TB of raw material, then it might be practical to use more-expensive-per-TB-and-transfer-speed storage solutions like 2.5" external usb or thunderbolt drives. But the 3.5" drive + hdd dock solution is excellent if you are working on multiple projects at the same time and need large amounts of relatively fast storage which can be swapped quickly if needed

I have understood that working with the Cfast to SSD box is quite unpractical and unrealiable (too many vulnerable cables, possible data rate issues, etc.) in real world situations. I have seen some examples on web of this done with for example Ursa Mini but the users didn't recommend it for general use. Generally one just has a laptop with some DIT software which does checksum verified transfers (like Shotput Pro or Silverstack) and backups the cards during the day whenever possible, then reuses the cards right away. I mostly use 3.5" SATA drives for data storage both on set and in post production (on set I have two thunderbolt RAIDs so that the offloading from card is faster), if you have good enough HDD dock they are both the fastest and the most cost effective way to store large amounts of data during the production. you crew needs of course some experience of handling them because the circuit board is exposed and vulnerable but otherwise they are the best way for short to mid term storage and for long term you can do a LTO backup of the SATA drives and then reuse them if necessary

it might be easier to follow action and focus with the video camera and let the stills camera to take images automatically if you have to choose between the two. Focusing and autofocus is much more difficult to do with video... one possibility would be to use a good enough quality raw video camera to be able to capture the stills from the video frames. the shutter speed would be a problem of course (video generally requires longer exposure time for smooth motion which is not optimal for stills capture. it might be possible for you to use a onboard video monitor or separate (hdmi, sdi) viewfinder to use your left eye for video camera's feed and right eye for the stills camera finder. it would require lots of learning to be able to concentrate on both when shooting but that way you would be able to see the focus on both and be able to use the stills camera as your main camera. OR you could use a side-by-side 3D arrangement with two cameras (video capable stills cameras would be ideal for this I think) with two similar lenses with linked manual focus. You will lose autofocus functions which is bad for stills shooting but otherwise would work quite well and you would only need to concentrate on one viewfinder because of the linked focus and similar field of view

there should not be any problem with it as long as the diopters are good quality. generally about something like +3 or +4 can be tolerated even if not top quality diopters (chromatic aberrations, soft edges, etc.) I personally prefer extension tubes over diopters most of the time and rarely use dedicated macro lenses, just normal lenses with extension tubes or bellows. you can purchase a cheap M42 extension tube set from ebay or a local seller (the cheapest one will do) if you need more magnifying than diopters allow. you need to calculate the exposure manually but otherwise works great (though most m42 lenses are not good enough for very high magnifying ratios, you will need dedicated lenses if wanting to shoot microscopic stuff)