Deji Joseph

I have noticed when discussing what makes a 'film' better, everyone believes X or Y or Z is more important. I have noticed this is due to their differing opinions on what a 'film' actually is. I think a film is just a series of frame alternate in quick succession to create the illusion of motion and a good film is one the intended audience as a whole like/fulfilled its purpose. This includes Tv movies, music videos, Adverts, online videos, motion posters, corporates ETC. So here is the question, what is a 'film' to you? deji

A more experienced colleague told me 12 hour days for a month are not uncommon. What are your average working hours on set? Regards Deji

Not sure what external recorders and the workflow will be but the future seems bright. http://www.engadget.com/2012/03/30/sony-nex-fs700e-4k-nab/ Dj

US mainly, but any information on any industry would be appreciated DJ

From what I know, they earn through advertising, syndication, merchandise and video sales, but how does it work exactly?

You should add details about your location/area if you are looking for crew

I have a 4 page short film script about a young adult who learns a lesson about safe sex when receives a mysterious package. I was wondering if anyone could tell me where I could get online feedback on it. For those curious heres a link to the script http://dl.dropbox.com/u/22617863/Use%20Me%20by%20ayodeji%20ayo-joseph.pdf

Interesting, in the UK i've heard we use too much dialogue and very little visual. GREAT short thought. Dj

Someone put some raw C300 MXF on vimeo, search "Parallel C300". I think it "C300" handles grading better but the Log footage is also more contrasty than most DSLR footage.

When i first started using DSLRs 2 years ago, everyone advised me to use the lowest contrast and saturation setting possible with the picture styles. However over the years I have discovered I get better results leaving the settings on 0 for both. This gives less color banding in my honest opinion when grading. My colleagues say experienced Maestros like shane hulbert would disagree so i came to the conclusion I am missing something. Could anyone please elaborate on the pros and cons on Ultra low contrast and saturation looks in raw footage. Note I am not saying there is anything wrong with Log like footage, but isnt there an issue with banding at low bit rates especially on DSLRs and 50mb/s codecs? Regards Dj

wider shots like masters relay more objective information like location of actors to give a geography of the scene, closes ups are more subjective because the audience is focusing solely on the emotions of the character, POV are mostly objective shots from a characters point of view. Hope this helps Dj

Im looking forward to your blogpost on it, when do reckon it will be up? Dj

There is a new video up http://vimeo.com/33425317 I am interested in the narrative possibilities the clean high ISO, small size and Image stabilization offers, sounds like an amazing indie/Guerilla camera to me. Dj

Sorry my mistake, haven't read this one, thought your were referring to one of his earlier blog posts about the Pros and Cons of his EPIC, I remember reading in one of his posts his kit could barely take the weight of the EPIC.

He shares ownership of the Epic with Eric Kessler I believe, also the Epics size seems to be a big factor for his work and fits the accessories he has already so it think hr decided its a better investment for him. Dj

8 bit through HDMI and SDI simultaneously

<object width="640" height="360"><param name="allowfullscreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=32067654&server=vimeo.com&show_title=1&show_byline=0&show_portrait=0&color=ff0179&fullscreen=1&autoplay=0&loop=0" /><embed src="http://vimeo.com/moogaloop.swf?clip_id=32067654&server=vimeo.com&show_title=1&show_byline=0&show_portrait=0&color=ff0179&fullscreen=1&autoplay=0&loop=0" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="640" height="360"></embed></object> My link NOTE: Canon has apparently done a price drop, more details soon. I think the camera looks great, the Low light performance alone is an achievement.

I doubt it will ever happen, only actors, producers, directors and SOME writers enjoy mainstream brand recognition.

Studios only reap half of the gross, the theaters take the other half. Don't forget of the 50 percent the studios take, the talent like actors producers and directors may take up to a 20-25 cut. So a studio might end up with 40 percent or less of the gross if it uses big names. Add the advertising costs and then you get a bomb in the studios eyes. Most of the time producers just want their film to tur a profit so they can put food on their table and continue to do so. Niche and art house productions are done for arts sake sometimes and turning a profit isnt as big a deal if the financial backers are pleased with the final product.

I generally stick to focal lengths 50mm and below for indoors due to space and long lenses outside. I think framing decides the focal length.

Still wine, cider would mean they are related

That means ignoring the fact the codecs are different, red code is only double the data per pixel compared to a canon dslr maybe that is why it suffers during aggressive grading erhaps?

This is an unwanted child discussion of the Cheap Red aesthetic thread, I was wondering how does Redcode minimum compression compares to Proress 444 and Film DPX transfers in information per pixel terms in relation to color depth and bitrate?

I think the problem lies in trying to make digital look like Film. Thats like making apple juice to taste like wine. The last 2 Star Wars films were shot digitally with the sony's in the early 2000's and they looked great. Avatar looked great on the Sonys as well. From Peter jacksons blog the make up artist commented about having to make the skin redder for the Epic camera i found that strange.

I think your getting confused. The original question was about true 1080p sensors with equivalent number of photo-sites. If a larger 1080p sensor was stopped down to the equivalent DOF of a smaller sensor 1080p camera, the larger sensor would have less noise and better color due to more photons per photo-site. DSLRs have native sensors in the 16MP+ range so the photosites are smaller than a 1080p camera thats why the F3 thrumps the 5D in low light even though its sensor is smaller. If you want to have a deep DOF and cant spend the bank on light, 16mm is a much better choice than 35mm.