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Jason Cowan

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  • Occupation
    Student
  • Location
    Phoenix, AZ
  1. Very true. Try the Casio EX-F1. It's not quite high definition, but talent beats pixels any day. You may achieve high speed photography with the following parameters: 300FPS at 512X384 pixels 600FPS at 432X192 pixels 1200 FPS at 336X96 pixels I don't even think this is "prosumer", and professional high speed digital photography is limited to the Phantom family, as described by Adrian.
  2. Wow. Yeah, I shot a campfire scene with a gas fire-pit in my backyard with the RED ONE. It was all MOS, so the sound wasn't an issue. We were, however, quite underexposed (more so than predicted, though magnified by my inexperience!). Yeah, if you've got a bunch of bounce from the bar, I think it's possible. That would look pretty interesting. Good idea. That could prevent some of that under light which would allude a more noir-ish tone. Is that the purpose? Maybe look into some old Westerns for inspiration. I've found some pretty sweet campfire scenes in some of those wild west flicks.
  3. Well said. Quick question, would no glass mean academy? And if N35 leaves space for optical soundtrack, is the BL4 capable of S35? I believe it is. Then 1:33.1 is with no soft/hard matte (GG), right? I'm a bit confused. There's lots of ground glass one can obtain from a rental company. Some come with TV safe, crops, ect... Which one would Moritz be most suitable? If he shoots spherical, he's got 1:33.1 & 1.85.1, correct? I mean in the contemporary, of course. And 16:9. But that might be best for him so he can crop for "psuedomorphic", right? I'm still learning here, too. Sorry if that creates any confusion.
  4. Schmitz, Could you elaborate on 1:2 for me? Is this your shooting ratio? For example, this would be shooting two (2) takes for every shot. "Ground Glass" is the English term. 1.37:1 is the modern academy ratio. If there is not soft/hard matte additions to the ground glass, this will be the standard ratio. You are from Europe, yes? The aspect ration for most theatrical showings is "1.88:1". This may be an important factor. "1.85:1" is the industry standard for spherical 4-perf 35mm capture.
  5. Advertisements and commercials draw thousands to those creating them. You'll need to find a company that receives many "bids" from clients. These will be marketing division representatives who contract projects for the exhibition of their product/service. As for "Hollywood" productions, you might want to refine this endeavor. Is it narrative filmmaking you desire? Non-independent productions require a high tolerance for bureaucracy, at least from my personal observations. Consider entering into a film school or media studies program. What position interests you most? If you still remain dubious about the future of your filmmaking career, solicit your assistance to film students. They might allow you to help on their set in a creative or non-creative position. Float around in a variety of these "smaller" positions until you've found the area which sounds best. Then pursue. And don't give up.
  6. What is the exposure index to which you feel most inclined shooting at? If this is the legacy RED One, the native sensitivity is approximately 320 ISO. This would require much more light than described. The second generation sensor, Mysterium-X, would offer a native sensitivity of approximately 800 ISO. Some cinematographers disregard the factory statements; these settings often time do not work realistically, especially in nature.
  7. Great work Merlyn! It's really well paced especially considering the duration. The montage is my personal favorite.
  8. Nice work, JJ. I'm particularly interested in your slider moves. Very fluid indeed.
  9. The RED is more likely to produce a noisy image with Tunsten balances, because it's sensor has a native color bais of about 5000 Kelvin. The camera favors cooler light and with warm light it has a lack of data in it's blue channel, thus producing noise.
  10. Going along with Adrian, there are still a geat many variables that may contribute to your project. Are you filming daytime exteriors or nightime exteriors? I would suggest Tugsten lights for both setups as these lights tend to be cheaper. Howvever, that only applies if you are not shooting daytime exteriors. Thus daylight lights (such as HMI or PAR) must be used, without the aid of a conversion filter. The overall lighting complements are truely up to your dicression and budget. If you have the money then get plenty of lights! For the interiors, I would go with at least 4-5 babys (1K each) if you happen to be lighting a lobby. Small interiors may only need a 3 piece lighting kit of tweenies, maybe 1 baby, and two mighty moles with a zip/kenoflow. I might throw in some more tweenies but that would be it. Depending on the size, I would also suggest a FAY light. They are easily adjustable and you can soften it up a bit with a 8x8 frame and some shower curtain or something of the like.
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