Christopher Santucci

I have two 120D daylight heads and so far, I love them. The design and construction are very nice for the cost and output is high and reasonably dimmable. I'm not crazy about the external power supply that you have to hang on the yoke or stand, but it is what it is.

If anything, it's a small amount of lens diffusion. I don't see much halation, so it can't be much. Some older lenses can look softer, but they'd have to be pretty old. Even my 60's/70's era Nikkor prime lenses are as sharp as modern lenses (to my eye).

Check this: https://www.red.com/flicker-free-video

More from Mann's perspective, but still pretty cool: https://cinephiliabeyond.org/michael-manns-heat-complex-stylistically-supreme-candidate-one-impressive-films-nineties/

Cine D is far cleaner than vlog in that camera.

Open face lights with reflector removed. Point source will give you hard shadows.

I'm using 24 volt daylight 1x2 and 1x3 mats on frames direct as keys. I usually place one next to the other to wrap with. I love these things so much, I'm using the book light set up less and less. The mats are major space and time savers. Why bounce when you can have a large flat, soft, evenly radiating source?

I'd suspect you're using too much haze. You don't need much since it's only meant to make shafts of light visible and maybe soften backgrounds. As for containing it, you DO need to have an environment where you can control air movement, which means turning off HVAC, closing windows and doors, etc. If you need to open a door in a scene, leave it open for haze, but close off the area outside the door you're using, then close the door for takes.

I would suggest that the DP has the hardest of all jobs on a film set. I suspect that's what Hall is referring to, that's it's just a such a brutal occupation in terms of sustained focus and concentration, not to mention being at the mercy of weather and all the time-eating aspects of production.

Yeah, tfw you have an Alexa but the producer asks if you can record 4K footage.

Of course, but who's still shooting on MiniDV anymore? I was going to say "as long as highlight clipping was prevented or minimized" but I thought that was obvious :-)

I would say color depth, not so much dynamic range, makes for more options during grading. It's funny how we want as much range as possible when we ultimately end up compressing the dynamic range anyway.

I always believed this, especially after years of shooting transparency film day in and day, mostly in a studio setting. Talk about dynamic range - 4 stops!

I think "orange and teal" is more about production design & post filtering than anything else.

You might be able to find an O'Connor 50D. They're generally on eBay for a bit more than that with legs, but you can always make an offer because nobody is much buying these anymore.

Damn, I want to shoot something with that camera now. There's a monochrome Red an hour away from me and I don't think it rents out much. "By removing the need to de-bayer the sensor data Red have managed to achieve a much higher quality black and white image than a standard Epic." "Increased net resolution ( Removal of the debayer process, so every single individual pixel is used for luminance / image data )" Apparently, this was shot with that camera:

Not sure that would work, Phil, but it looks interesting. I've dabbled with Twixtor and I know it has limitations but I may revisit that option for my project.

Hahaha. yeah, you know what I'm trying to avoid. Yeah, I landed on the FS700 while researching options but I have a Red Epic, so looking for something that might surpass what I can do with that. I did also just find a few very good looking rental options on eBay.

I'm looking for high speed camera rental options that are easy & cheap, ideally without an attendant tech, HD resolution at at least 500fps. Thanks for any help.

Camera operator should have something to lean on, on the dolly. If moving slow enough, might be ok without it, but I wouldn't do it without some kind of bar to lean on.

Anything from Blain Brown, yes. Also, Set Lighting Technician's Handbook by Harry Box.

My understanding of the Red Monochrome brain is it actually has heightened dynamic range. I would use the monochrome unit with filters as needed.

I can't stand motion blur and if you ever looked at normal 180 degree footage frame by frame, you'll see that most if not all of the movement is blurry. I generally shoot at 72 degrees and nobody ever notices the difference. One bonus with this approach is having more usable frames to use as stills.

eBay sellers with good feedback over a long term are generally safe to buy from in my experience. Plus, there are ample protections in place (that have worked well for me multiple times) with ebay/paypal to insure you don't get a broken item.