Joshua Csehak

The Sigma Arts are the best bank-for-buck in glass, period. The IQ is very cinematic. My kit set of primes is Zeiss Otus, and they only do two things better than the Sigmas -- less chromatic aberration, and the Sigmas have a slight green cast. I still might pick up a couple Sigmas for run-and-gun on the C300, so I can use the autofocus function, probably the 18-35 and 50-100 (though it breathes like a mofo), but need to try their 24-105 and 70-200. Curious to hear anyone's experiences with those! I've been a Sigma fanboy ever since I did an A/B with the 18-35 and Canon L 24-70 -- the Canon looked like a picture, the Sigma looked like art.

Also, just remembered that a stocking behind the lens will lift the blacks a bit, white probably being best to both lift and wash out the colors. Worth a try.

This might be stating the obvious, but if you have the luxury of waiting till you've got an overcast day (or at least, cloudy, and only shooting when the sun's behind a cloud), that's killer low-con! If not, maybe you can find a way to stage everything in the shade?

To be fair, it does look nice https://www.google.com/search?biw=1370&bih=780&tbm=isch&sa=1&ei=nUk2W9nJEJLW5gKC_q6ACg&q=orange+and+blue+movie+posters&oq=orange+&gs_l=img.3.0.0i67k1l10.51536.54557.0.55819.13.8.3.2.2.0.194.781.6j2.8.0....0...1c.1.64.img..0.13.796...0.0.KONkJL4QGhc

If it's in good condition, buy it. And if you don't want to buy it, PM me and I will. The only downside is they're unwieldy. I got by with a Diva for interviews for years. (Which I'd be happy to sell you, but I'd want $500 so this kit's a way better deal!) But Kino 4x4's have been some of the most used and useful lights forever. LEDs are in now, and in a lot of ways better, but that doesn't make this kit any less solid.

https://www.bhphotovideo.com/c/product/725599-REG/Rosco_102307282124_E_Colour_102307282124_Steel_Green.html And CTO and/or CTS in the highlights, depending on taste. It's getting trendy though. It was good in Guardians of the Galaxy, but Shape of Water took it to a new level.

Camerimage is crazy. I've gone the past few years. It's worth going for the Polish food alone. But mostly awesome to meet other DPs.

25 and 85. My everyday 3-prime arsenal is the Otus 28, 55, and 85. I'm mostly on the 28 and 85. And often wishing the 28 was a 24. I have the Tokina 11-16 to throw in once in a while when I need something extra wide. Might replace it with a Milvus at some point...

But he could just throw an ND on it. I get losing detail, since with a shallower DoF more of the fire will be blurry, but I don't know, I'm not convinced he's talking about exposure.

In the July 2018 AC, Jayson Crothers says, "If you open up to a T4 or T5.6, you end up losing detail and color in the fire, so a T8 is usually the widest I'll shoot on the burn stage..." I don't think I've ever noticed a change in aperture affecting the color. Can anyone explain this to me?

Red monochrome pros: -higher resolution (8k is literally 8k, since you don't lose resolution from debayering) -it's easier to see what you're getting while you're shooting -you'll look cool on set with your wallet of colored glass filters -you don't have to worry about post messing up your image, since it's burned in Shooting-color-and-converting-it-in-post pros: -colored glass filters are hard to find as a rental, and not cheap to buy -you'll have more options with the look (you can, for instance, take the red channel and 25% of the green channel) -you can change your mind in post

Yeah, I get the same feeling. The books seem to talk mostly about fresnels, or homemade softboxes that are grids of lamps. I feel like The Artist pretty much nailed the old style, no? I felt like even the camera movement was spot-on -- no technocranes or steadicams anywhere to be found. I LOVE The Man Who Wasn't There -- both the lighting and the story! I'm pretty sure Deakins's lighting diagrams were featured in an ASC issue. Lot of lights! But not quite what I'm talking about in terms of standard studio lighting, of course -- more like noir/creative, I'd say. Good suggestion, but the deconstruction is the hard part! I need to figure out how to easily grab and post frames. Maybe I should rip my DVD collection. Guy, that makes a lot of sense. Maybe I just need to shoot some B&W and try and replicate it. Also, awesome to see you're in Boston! (I am too.)

Haha, my bad. Yes, 300w :) Do you think it's enough of a difference to account for the different look back then? Surely it must be much more complicated than that?

I've been watching old Twilight Zones lately, and it struck me that there's a common look to the lighting in most old B&W movies. They all seem to be really well-crafted in the same way. What is it? Were they using big fresnels exclusively? Does the size of the lens matter? That is, is there that much of a difference between a 10k with a 20" lens and a 300k with a 4" lens, assuming they're exposed the same? I have Malkiewicz's Film Lighting, Painting with Light, and Reflections, and just ordered Roger Hicks's Hollywood Portraits; are there any other good books or resources on this?

Want! All kinds of want... Wonder how hard this would be to make...