Aaron Moorhead

Yeah mate, looks like you've diagnosed it. It's a bit too bright, but also, you might have wanted to soften it up a bit on her face. I think the problem people will have is that it feels unmotivated -- what light at night gives a strong, hard, white light? To me, the moon is dim, soft, and "silvery," which I take to mean more of a backlight, not something you can really get away with for a strong key. I also think you can underexpose your leading lady by a stop or so and still keep the beauty of her face, just keep that eyelight going and throw a silk up, and we're all in love.

I ran a little test with instantHD right when it was released, dragging a file into AE and simple scaling it up to HD size, then overlaying that with the same footage that had been run through InstantHD. It was identical. Save your money.

Not extremely useful except for very specific situations, but myLite with your brightness all the way up works nicely as a soft eyelight/LitePanel if you can get the colour temp right. Haven't tried it yet, though.

I do not want a strike, but the AMPTP deal for SAG is actually pretty bad, considering the differences between IATSE and SAG - one relies on residuals, one doesn't, which is the whole problem. Plus, the WGA deal is pretty darn different too, and can't really just be copied and pasted from one contract to another. Go to sag.org and do some reading up. Specifically, on the Negotiations Update, watch the 4th video. The rest kind of suck, but Ms. Bateman does a great job explaining what's going on. Also, read the FAQ on the strike: FAQ here. They answer all the obvious questions we all have, like "why now?" and "why do you think you're so special?" They make a compelling argument, but I'm still siding with no strike now, simply because of economics.

I do not want a strike, but the AMPTP deal for SAG is actually pretty bad, considering the differences between IATSE and SAG - one relies on residuals, one doesn't, which is the whole problem. Plus, the WGA deal is pretty darn different too, and can't really just be copied and pasted from one contract to another. Go to sag.org and do some reading up. Specifically, on the Negotiations Update, watch the 4th video. The rest kind of suck, but Ms. Bateman does a great job explaining what's going on. Also, read the FAQ on the strike: FAQ here. They answer all the obvious questions we all have, like "why now?" and "why do you think you're so special?" They make a compelling argument, but I'm still siding with no strike now, simply because of economics.

I do not want a strike, but the AMPTP deal for SAG is actually pretty bad, considering the differences between IATSE and SAG - one relies on residuals, one doesn't, which is the whole problem. Plus, the WGA deal is pretty darn different too, and can't really just be copied and pasted from one contract to another. Go to sag.org and do some reading up. Specifically, on the Negotiations Update, watch the 4th video. The rest kind of suck, but Ms. Bateman does a great job explaining what's going on. Also, read the FAQ on the strike: FAQ here. They answer all the obvious questions we all have, like "why now?" and "why do you think you're so special?" They make a compelling argument, but I'm still siding with no strike now, simply because of economics.

Take a look at the Canon HV20 or HV30. $1k price point, small form factor, HDV, and 24p! Haven't held one myself, though, so the ergonomics might suck. Aaron

Power went down because of a lightning storm at night on the last day of shooting. Luckily, the scene was supposed to be during the rain, but without a genny we were really out of luck. We didn't know when it would be coming back on, so we rolled camera with a few compromises from the director -- it was keyed with our still photographer's flash bulbs that doubled as lightning, and now one of the characters came out of their room with a flashlight which we used as much as we could. A lot of people have heard that and say "man, I'll bet it came out even better when you're forced to use a little ingenuity," but I'd have to say that I really, really wish the power didn't go down. It came out okay, but inconsistent with the soft, slick look of the rest of the film. That, plus, you know how darned hard still flashes are to catch on the RED :)?

Can anyone throw some advice to me? The show's over, but I don't want to be caught unprepared to care for the lenses again.

This looks great. Thanks a ton. I think you might be able to improve it, though, by going ahead and drawing an opinion for those who don't want to go through a long time investment to find out "the best." I know I can take the investment, but it might be nice to have an editorial at the end that describes who you think is the winner.

I'm 1ACing a RED show, and we were shooting in a cold, working meat locker the other day. We brought our lenses (an old set of Arriflex lenses, kind of an assortment) into the cold locker to get the acclimated to the cold, and we noticed several things that I hadn't really run into before because, shooting in Florida, cold is not often something I have to deal with. The lenses started sweating, of course, but the RED mount also started slipping a bit, and a few other minor differences. None of this was really causing any problems, but basically, how do you care for a lens in a slightly cold environment? I didn't want the condensation getting into the optics, but it wasn't easy to keep them dry. I have a fear of opening my cases the next morning and finding them rusted to hell. How do you deal with anything on the camera shrinking from the cold? Is that something I need to worry about? My ASC manual did little to answer my questions on this (it was all for extreme weather). Thanks in advance.

Looks like you had a great time. Will it be released online, or sold anywhere? I think it's really cool that FXHome funded your film -- I used their AlamDV program when it first came out, geez, 6 or 8 years ago? Looking forward to seeing it!

Your stuff looks great, Sean. I loved "Flurry."

If it helps, from the original discussion, I heard that Kaminski left for the reasons mentioned: the awards. Specifically, though, I believe the straw that broke the camel's back was having Memoirs of a Geisha selected for an ASC award over Munich, although I'm not sure which award.