Ari Davidson

Sounds like you're on a right track. If you're looking to test exposure, or at the very least would like to rough it in. Pick up some 800 ASA still stock and test it out. As for the lighting, with that many units I'd key with one of my largest units and carve it up on the on the reverse for fill and what not, and use the rest to bring out background or additional talent. But, it's horror so darkness works (check out the original Chainsaw Massacre).

That and all the other video specific features that come with a video camera. In my experience the camera ISO ratings are fairly spot on at a standard setting. It tends to get a bit mirky once you use other picture profiles (i.e. Technicolor Cinestyle). My suggestion would be to install Magic Lantern which will add false color and a waveform, or attach a third party monitor that provides the same. Marshall has a lot of bang for the buck, but TV Logic is my favorite.

I'm fairly certain they're hard to come by without a blimped Angenuix 12-120 or 10-150. Without the lens blimp it's basically an MOS cam from my sparse experience with it.

Brilliant.

I've been wondering how that camera would hold up in sub zero conditions considering the whole thing is conducive. A few years back I was a 1st AC on a feature that was shot in North Dakota during it's coldest winter since 1938. I think the average was -40ºF, and the film was primarily EXT. The first day of principle photography the Letus Ultimate flip module condensed so much that the mirrors shattered! From thence forth we opted to use the Sony EX1 all on it's lonesome when possible outside. I'm glad you fared much better! P.S. The film is called Prairie Love and was selected to feature as part of the NEXT category at this year's Sundance Film Fest.

Originally intended to say oldies or goodies because I've also wanted to see old films like "Sunrise" in their intended glory. Thanks for the quick response!

I just finished watching this on Blu-Ray, and now I have to it in print. Does anyone know of a theater in the New York area that screens old goodies like this?

Google to the rescue. http://www.complaintsboard.com/complaints/getitdigital-c197904.html

My little sister is looking to pursue a career in Production Design in the future. Does anyone know of a similar site to this one that is geared towards production design? Best, Ari.

An empty Miller 24 pack does wonders for me.

Never used this but I just stumbled on it and remembered your post. http://www.reelclever.com/tour/storyboard

Great post. Thank you.Be sure to keep us posted!

Kyle, 19th is the word on the street. I cannot speak for Marcus however I saw it at local theater in East Hanover NJ at 2130 last night. Marcus, I agree the landscapes were stunning and enormous, which I especially liked since in the rest of the films we're somewhat stuck in the school or other interiors. Also I really enjoyed how much and how well shadows and under exposure played in the film. My only problem with this film (as with the last one) the DI was very apparent most of the time and often felt overdone.

I've heard great things about this adapter. http://www.cinevate.com/catalog/product_info.php?products_id=163&osCsid=b57cbef0441e151e3113429aee3c2fe0

It doesn't come with lenses but at this price you'll have more than enough to pick up a couple of nice primes or a decent zoom. http://www.visualproducts.com/storeProductDetail02.asp?productID=214&Cat=17&Cat2=32

Will you ship no NJ?

Shoot now, develop later, and regret it never.

pcam is great for many thing that Toland cannot do, yet. However Toland generates reports. I'd suggest using both since they have unique functions.

Seems pretty solid! Shoots to h264 instead of avchd. Much better in my opinion. However Canon still has a leg up with high frame rate function.

If you're referring to the color of light in the scene, it is highly dependent on the cinematographers interpretation of the story. Different or contrasting colors will do just that. Add contrast to the frame. Not having contrast in the color of the light offers equally beautiful results. For example Apocalypse Now has many scenes with their own color motif. Again, I think it boils down to what YOU the cinematographer feels is right for the story.

If your budget and vision permits it, perhaps try a higher frame rate.

That looked bad ass.

If you're anything like me you enjoy a good BTS spot as much as the film. What I mean by good is a production that isn't a talking heads piece of the actors talking about how much fun they had being ______. I'm talking more along the lines of a piece that shows the FILMMAKERS at work. Examples that come to mind: Pirates of The Caribbean 2 and The Fountain. Best, Ari Davidson

Sure was!