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.

It is a pretty common method. Make sure your gaffer holds the pole steady without dipping up and down so the light doesn't have some weird and unnatural dance on your talent.

It feels like maybe the pressure plate on that one mag might need some love. The shiny metal as you're loading film into magazine is the pressure plate which holds the film at a certain pressure against the gate. If you have film bouncing back and forth between the pressure plate and the gate might cause it.

I would say just increase the ambience by bouncing a light to flatten out the contrast without making it completely flat. This is the easiest and the safest way in my opinion. Determine a contrast ratio for example ext being 1 stop over and int. Being 2 stops under so this way you can retain information on the outside and have a nice contrast inside without losing details etc. Then again, this depends on the general brightness of a room. All white walls and light colored furniture versus dark wood interior with darker toned furniture. In that case, I would be a bit more mindful of how much underexposure you want for your general ambience to hold detail in set pieces etc. Ot is all subjective regardless though.

I thought the same as I have been shooting hp5 for stills for almost 30 years. I wouldn't do it because you will encounter issues due to its perforation. Ilford used to make motion picture stock as well with BH perforation. The claw and registration pins would shred the film for sure unless you get the pins and the claws adjusted accordingly maybe.

Heated eye cup is a standard equipment at least with film cameras but you could swap the cable to fit your needs to d-tap for example to power up the unit but i do not know they natively make heated eye cups for your evf.

How about a eyepiece cup heater unit?

I don't know why people try to make a format cleaner than it already is....

Thank you guys. I am sorry I just noticed this post. I will have to continue that shoot at a later date as this Covid is pretty limiting. Also I just tested positive myself so... Quarantine here I come. Luckily, I wasn't trying to hunt down a job... Stay safe.

Great pictures Bill. I wish you the best of birthdays up there which I know I'm late...

You could catch the backlight with a beadboard for a slight light in the face without getting obtrusive.