Neel Potgieter

Perhaps already mentioned here Aputure 600c with projection lense...these are really great for little golden spots. All these lights are great if you use the falloff of the light...so dont point it directly at the subject, but just let the edges of the light fall where you want and you get a very natural look

Been working a lot with jib arm + remote head with handwheels...i find it just frees me up and doesn't limit camera movement to how far I can twist my body : )

Hi all, thanks for the responses! I will do a test tomorrow at Vantage Paris and see what the solutions are. Effectively I see that the image circle is around 23mm so it can be a bit tricky. I will keep you posted ; )

Hello folks, I am just wondering if anyone has tested this setup? Is there a definite interest to shoot with them to get a 1.85:1 final format? As the Alexa 35 is a 3:2 Opengate sensor, do you know if I can use the full sensor? Like a Alexa SXT for example Thanks for your thoughts!

I was thinking that another solution could be to use a 3D rig, with one camera set to slow fps/shutter, and the other set to normal. Then in post they have the choice to mix or not. We will have one day of motion control, but the other two days for the shoot I need another "cheaper" solution...

Its true that with today's Sony Venice 2 or 1 its worth giving it another shot!

Thank you David, I will of course run this by VFX, I was kind of hoping there is a clever way of doing it in camera. So do you think that's impossible to get? Thanks for your advice, its much appreciated ; )

I forgot, I am also interested in getting some of these smudge blur effects. Anyone out there have some advice on how I can get this? Again, Many Thanks.

Hi everyone! Would any of you perhaps know how to or can advise me on how to achieve a shot where: An actor walks in front of a car and open the door. The camera jibs down and track with him and pushes in (as an example. The point is that the camera is moving). I need the car to be sharp without motion blur, but I need the actor to be blurry! So a bit like a motion control timelapse, but the actors motion is in real time. I hope that makes sense. Here is an example...except I dont want the actors to have a sped up / timelapse quality in their movement. It needs to be real time. Thanks so much for any help with this. P.S At the moment I am thinking motion control robot doing multiple passes at different framerate/shutterspeeds, but I am worried that the compositing where the blurry parts are will look rubbish on the car....

Probably too late now but you could try this bad boy:

I used it once, and was underwhelmed. You need a shed load of light to make this work...Be sure to bring out the bigger HMIs

Ok thanks David, Appreciate it.

Hello David, thank you for the response. So would it be correct to say that in real world examples, for instance a house interior (without seeing windows), you would lower the ISO to say 400/320ish but still expose "normally" (with an incident reading for example) and then have 1 stop of detail more in the shadow areas; or as another example, say you are shooting a day exterior in bright sunlight, with cloudy skies. You push the camera to 1600 iso, expose "normally" and then you have a stop more info in the highlights. That is the way I understand it currently, but in reality it feels counter-intuitive. A more extreme lighting situation, say for example a night street scene, with the possibility of lighting it, would you lower the ISO (assuming of course that you have some lamp lights/windows in the frame and you loose info in these specular highlights)? Final remark - I think the only time I can see doing this is if I cant light it properly. Or would you use it even if you do have the possibility of lighting the scene to your taste? Kind regards

Hey folks, I'm hoping someone can clarify for me the idea of lowering Alexa ISO when you want more detail in the dark areas of the image. How is this different to filling in the dark area with light? I'm not sure what the process is, for example, I meter at f8 at 800asa. So then I put the camera to say 400 iso and shoot at f5.6, and then I have a stop more detail in the dark areas. But this is assuming that I have enough light in the dark area to read it in the first place no? I appreciate that this may sound confusing, but that is exactly what I'm trying to figure out ; ) Any responses/answers are much appreciated. Neel

Hi Bruce, David, and Phil, Thanks for the replies! I really appreciate it. David, you would shoot 6:5 rather than OG because we would loose the sides in any case? And if I understand correctly, you would do the extraction of the 8:9 and unsqueeze it after, is that right? Phil, with regards to the spherical element, I think we prefer to keep it to anamorphic where possible. For the 1:1 we are not really concerned. This is something the agency will take out after, any part of the frame that suits them, to do instgram commercials of 3 or 4 shots. It doesnt really impact us as such.