Giray Izcan

There is a reason everyone left the chat... Go ahead and hit the dislike button. Anyhow this is it for me with this, no offense, nonsense. Good luck with your moral policing....

Uli, great work.. Reminds me of my kiddo when he was a baby too. He is almost 8 now. The lenses seem to be matching very well from what i can tell through compression. Next time though, in addition to Phil's input, you should have a lot more hand held shakes too. If I don't feel nauseous 30 secs into it, it could not be considered as a home movie haha.

David, I just re-watched your work on The Love Witch. I have to say those colors... They jump out of the screen almost. Lovely work.

David, please shoot something more appropriate next time ok. We do not want to see any skin I beg you. If God forbid, you guys do decide to show such inappropriate scenes, make sure have a written justification literature. Thank you.

Absurd at best...

What are we discussing again? Hahaha I saw Brad Pitt's body in Once Upon A Time In Hollywood mote than once. I think we should shun the movie and ask the filmmakers to attend the nearest film school so they know better next time. Haha. Absurd at best sorry.

I would stick with Prores.

You could mount fixtures on the walls and ceiling etc to save the floor space too. Something to keep in mind. Single bulb kino or led mats taped up on ceilings or behind objects, columns work well too.

It feels like anamorphic shooting on s16 introduces a lot more problems for what you gain, which they really are inferior to any spherical s16 lens. Hawks are different story altogether.

I am left behind I suppose haha. I apologize to be misleading.

Eng cameras have a better form factor - more of a all-in-one system rather than having to "put together" a camera with 3rd party attachments, rigs etc. 2/3" chip gives you more depth of field that with long lenses you wouldn't have to chase focus between one eye versus the other as much as a s35 or vistavision formats. This is of course my opinion. I used to operate Betacam cameras for example and it was great operating those cameras. Well balanced and all inclusive camera without cages etc. Hand held to sticks you don't have to reconfigure anything. I am not suggesting a Betacam but a 2/3 inch HD ENG camera with same type of body - the high end ones not the basic good enough for news gathering types. For analogy sake, uvw 100 versus Ikegami hl59 W or sony d600 - sure all is Beta SP but the 100 was the cheapest versus 65k 600 or 59w were not the same at all in terms of colors, dynamic range etc. 100 was straight up good enough for news gathering and some other low profile work. Pair it with a nice long HD ENG lens with a servo and you're set. Red etc is not very practical for documentaries unless you're shooting about the pyramids etc. People nowadays seem to care about how their "rigs'" look with matteboxes etc to imitate cine cameras . You don't need any of that. Those cameras have internal nd filter selection so just regular lens shade that screws on the lens is fine. Don't buy into the idea that you need follow focus etc. We didn't use any of those configurations with Betacams for docs. Practicality wins imo. The last thing you want is to deal with 3rd party rigs etc in an environment like you are going to be working. Mind you most of those people don't even really need a follow focus or mattebox but hey it looks cool i guess. Also the ENG cameras have onboard sound too. Betacams had Dolby 2 ch or 4ch depending on the vtr with proper 3 pin xlr ports and monitoring display and dedicated sound adjustment knobs etc. And the viewfinder placement in relations to its shoulder pad is perfect too that you don't have to fight the camera which is crucial if you are serious about operating. Watch Nat Geo or Discovery wildlife docs... They are shot on these types cameras mostly. It is practical. And the camera has some mass to it for Christ's sake that it doesn't show shakes etc, which at those long lenses, even on sticks, it gets pretty touchy. I don't get why the craze about awkward brick style bodied cameras. I prefer to operate heavy but well balanced full size cameras for example. In other words, it is a ready to go all in one camera for these types of applications. If you're shooting drama then sure get the RED. Hope it helps.

Or you could shoot with coated lenses and pre-flash to reduce contrast as much as you want.

Lovely work Satsuki.

Honestly, for such an ambition and most likely having to work with long lenses that it would be the greatest idea to shoot on s35. I would go for a decent high end ENG camera. Under those conditions, I doubt you Will achieve a deep focus especially with such high frame rates. You don't want to be chasing focus and possibly miss a unique moment due to soft focus. My 2 cents.

Hahaha. Touche.