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Jordan Alber

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    Movi and Drone
  1. Might be, or just a curious fellow filmmaker who uses multiple internet forums to hunt information like most of us. And talking about this Ryan did you happen to find any info? In the same predicament myself as to whether drop 1K on a knockoff easyrig+Serene or save another 6K and get the real thing. If you ever ended up testing one/getting any news on it would love to know!
  2. I was planning on purchasing a Shogun Flame for the my A7RII before I heard of the new release of the Ninja Inferno, they both supply the XLR Phantom power I was looking to add my my recorder (why ninja flame wasnt an option) From what I can see the biggest difference is that the Shogun has a SDI input and output and the Ninja can record up to 60FPS at 4K, neither of which seem apply to the A7RII but I guess would depend on which of the two is more useful for future projects with different cameras. Is there anything I'm not taking into account for A7 series users? I also read today by a B&H staff member that this device shoots 4K 60fps on the sony A7SII however this seems unlikely, but if anyone has any information would be great to hear it.
  3. Thank you both very much, I have since got hold of both Salt and Keating’s works. I already own Visions of light but it had slipped my mind, so I will give it another thorough watch. Ultimately I want to chronicle the evolution of cinematography from silent film era until the new rise of digital, and have found a couple of insightful book regarding the shift into digital, however if there is any other particular book, magazine (am already scouting through all recent American Cinematograher issues) or Cinematographer (also looking into Zilmos Szigmond and Yuri Neyman’s GCI) who are doing anything particularly relevant to research. Once again thank you very much for your time
  4. I have been searching the web for any solid work regarding the historical development of Cinematography and the role of the Director of Photography within the world of cinema. However I can't seem to find much written about both subjects, does anyone have any good recommendations where to look? I have also heard that films such as Gone With The Wind and Star Wars during their respective eras had switched up the ways films where made up until then and rewrote structure and distribution of roles and work within the industry. I have found a few online articles backing this up slightly but if anybody has any ideas on where to look for further insight into how these (and any other movies for that fact) changed the way the industry (and more specifically cinematography) worked. thank you very much for your time
  5. Thank you all for the useful responses you have all given, I have worked my shoot now around using Pars are the primary light source to illuminate the forest, and am looking into the LED fake stone idea and the dayglo paint and UV light!
  6. Hey there, I'm an aspiring cinematographer and at the moment am working on a short film. I have an idea but would like to know other's opinions on the matter before I go out and rent a bunch of lights. Any feedback would be much appreciated. Our script requires me to to light a forest at night during a short dream-like sequence. Within the story, there are these pebbles that visibly shine in the moonlight, which the protagonist needs to follow home (similar to the story of Tom Thumb) This is the idea I had on how to light it: 1k or 2k JEM ball with several tone setting gels (Potentially a steel green or something) on it to give light to the background forest and potentially give a backlight to the actors 2k or 2.5k HMI with a diff-frame and some moonlight gels to give the characters a soft moon fill light Dedo's with similar moonlight gels to spotlight the pebbles Kinoflows (havent decided the gels yet) as main keylight for closeups Does this seem like a good idea?
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