Miguel Angel

@Dom Jaeger Dom (and anybody else) do you happen to know if this effect could be replicated in a digital camera with a physical shutter? Thanks! ?

Congrats to the team! I watched it the other day and it is a really profound and stunning piece of work

The Alexa 65 records internally on Codex cards. There is no need to tether the Alexa 65 to anything else in order to use it or record with it. Have a lovely day.

3rd episode is on Disney+ and it is the best one yet. Everything felt absolutely perfect. The music is getting better and better, the sets are fantastic, they are taking their time to develop the script. Truly awesome tv series!

Last October I had the chance to work on a new project in Ireland with director Ian Power. The project was a promo for TAM Ireland, which is the organisation that oversees commercial publications / advertising on TV in Ireland. TAM Ireland - TV Build Brands We had a 2 days shoot in the Ardmore backlot in Bray, which is an amazing backlot with everything that you need in order to get a lot of production value out of the set. However, the budget was minimal, 30K for 2 days, so we had to be quite inventive about how to make everything work. Ideally I would have shot it on a Sony Venice + Panavision anamorphic lenses on a steadicam but the production company couldn't afford a steadicam operator (let alone anamorphic lenses) and we ended up with a Movi Pro. Virgin Media was producing and they had a camera that they wanted to use because of the workflow that they already had in place, a Sony F55. Lens wise, we used a 35mm Ultra Speed Z with an anamorphic front that they had in Panavision Ireland in one of the drawers and it definitely helped with the balance of the Movi. We used the first day to block the actions, the actors, choose the path that the camera was going to make and light it. It was really great fun and it was my first time using 12Ks on cherry pickers!!! One of them is behind the building at the back of the first street, another one was behind the building in the end frame and I had another one around 20 meters away filling the end frame through a 2 meters by 2 meters which was behind me. The lights in the "interiors" are blondes and litemats, with some Astera tubes that you can see. Now, we weren't supposed to shoot at blue hour so I had the 12Ks with a lighter diffusion than the one that I would have chosen if I had had the choice of shooting either at blue hour or night.. but we ended up shooting two takes at blue hour and one of those is the one that they picked. I would also have gelled the 12ks with a 1/4 cyan to make them a bit colder / neutral I hope that you like it! Have a lovely day.

Silbersalz are pretty cool! And the price is amazing!

Adrien Golinelli http://adriengolinelli.ch The photos that Adrien took in the city of Ordos in China and in North Korea are absolutely mesmerising.

Look really great Satsuki!!! Congratulations!!!

I shot this last year for a friend's company on the LF and the Master Anamorphics and Supreme Primes. If I remember correctly it was the 28mm for the anamorphic part.

One of the best movies that Pedro has ever made. After having worked with him many years ago, it is absolutely impressive to see how open he talks about himself in this movie (Antonio Banderas IS Pedro), about his dreams, his fantasies, his sins, his flaws, etc. Many artists will recognise themselves in some of the sequences because it is, definitely, a fabulous tale about an artist life. Regarding the cinematography, I thought that some of it was extremely beautifully shot (all the sequences with Penelope and the "film bits") but I didn't like two sets, one of them is Pedro's house and the other one the monologue in the theatre; and one transition where I saw the IRIS change clearly (and so did the whole cinema!) other than that, is espectacular. The scene that I loved the most is when the "builder" is making a drawing of the kid inside the house.. sublime! I'm glad you liked it Michael! ?

Thanks for the insight Philip!!!! I'm definitely looking forward to facing those problems ha! Can I ask you what's the average budget / day of any of your commercials if you happen to know it? ? Thanks again! ? Have a lovely day!

Looking forward to watching it when it is out over here! Thanks for sharing the trailer!

Quite interesting. I suppose that we are in different markets and at different levels!! On the commercials I shoot, I always go to the colour grading because I'm always invited and the director always makes sure that I'm invited by the client and the agency. Maybe in top end commercials the relationship with the client / agency is different?? I'm looking forward to finding the answers haha. By the way, if you haven't tried it, give the Venice a test, higher ASA like 5000ASA or 10000ASA creates beautiful noise in dayllight!! Have a lovely day Philip!

You are more than welcome Heath. Don't be afraid of underexposing with the Venice because its toe is just infinite. Just to give you an example, I shot this with available natural light on the Venice and I underexposed LOADS. They are not graded. You might find that once you apply a bit of contrast to the image you will get better and stronger saturated colours. You mentioned that you're going to shoot in front of a green screen. If I were you, I'd ask for it to be blue (I personally think that it keys better) and I'd try to shoot as far away from it so you don't have the coloured light spilling into the blue screen and the light from the blue screen contaminating your character. Now, if you're going to shoot in a studio, I'd ask for a set of Astera tubes, very versatile and really powerful. Have a lovely day.

The Venice responds really well to mixed lighting and you might find that you start using less intensity in the light than expected as it sees A LOT and picks light extremely well. I would say that the benefits of using hard or soft light depend on your personal taste but maybe you can use both. I shot a commercial where I mixed soft and hard light on the Venice (although not as colourful as yours) and it worked really well.

You're more than welcome! Nice to see somebody else using high ISOS and underexposing the Alexa! I usually shoot at 3200ASA and underexpose it by 1 or 2 stops too! I love the noise! ? Hopefully @Satsuki Murashige will start using high ISOS soon now!!! ? Definitely my midtones (and I'd say that my overall image) are pretty contrasty as opposed as yours, which have a really subtle gradient, Love it! ? Have a lovely day!!

Welcome to the forum! Pretty gorgeous work! Love the "Rejoice" commercial and the "Coca Cola" one especially!!! The softness in the image between the blacks and whites is really beautiful! Every time I try to do that I fail completely! ?

Thanks Satsuki. 2500ASA + underexposing faces in camera around 2 stops ?

@Satsuki Murashige Here are a couple of examples from the Sony Venice + Supreme Primes + Black Diffusion 1. Straight from the camera, no graded and just lit with natural light.

I know! I might be one of the few who doesn't like the Panchros or the other Cooke series. ? There is a reason though, I don't like the bokeh because I usually see the shape that the iris blades make!.

I would love to shoot on IMAX some day but I would really love to shoot on a digital camera that produces an image as large as that of a 8x10 large format photo / sheet film. Imagine a true large format digital camera!.. paired with some obscure vintage anamorphic glass that covers that sensor! That's the dream! ?

A bit out of context in the thread but answering to your last post, Satsuki, I have to say that I hate the Cooke S2, S3, S4 and Panchro look in all its variations.. and I LOVE the Cooke S5 and the S7! lenses. The way they render faces and add tridimensionality to the image is fabulous. You might want to check the Supreme Primes Satsuki, ? I found that they are the perfect mix between the Leica Summilux and the Panavision Primos. @David Mullen ASC, it seems to me that the bokeh that your Helios is delivering looks quite similar to that of the Canon K35s! Have a lovely day.

Looks absolutely amazing David!!! Can't wait to watch it! ?

Thanks Mark!!! I have no idea either!! Maybe because I like blacks being dense?? Although I have to say that I shot a short documentary on the Super 16 mode at 3200ASA with the super low contrast LUT from Arri and the noise was really beautiful! it really was an eye opener to shoot with that low contrast LUT. Thanks Satsuki!!!! :) Red is my favourite colour but I never thought or noticed that I have been using strong reds.. but probably you're right! Ah! Come on!! Shoot something at 3200ASA and you will love it! :D

Last year I shot a short-film called Twin, directed by a really good friend of mine, Ciarán Dooley and funded by Screen Ireland. Twin Screen Ireland has a scheme called Short Stories, where 5 filmmakers get 20K and have to deliver a 5 minutes short-film and other 5 filmmakers get 50K and have to deliver a 10 minutes short-film. Ciarán submitted Twin's script to the 5 minutes scheme since it was meant to be a short story anyways... and he got the funding! So we got to shoot a great fun project! My main reference for Twin was a short-film called Corazon, directed by John Hillcoat and shot by Bradford Young. We shot over 2 days in Dublin and Wicklow and we had a couple of pick-up days for certain scenes. Lighting package was really minimal for the two days: 3 x M18, 1 x 1.2K, 3 x blondes, 2 x Sodium Vapor lamps and 1 x Skypanel S60. We used an Alexa Mini + Kowa Anamorphic lenses from Vast Valley and I shot at 3200ASA; I also underexposed everything by 2 stops. Hope you like it! Have a lovely day!