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omar robles

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  1. Hello group: I am helping my DP friend with a question regarding finding someone with experience working on old lenses. My buddy recently purchased a set of old Cooke Panchro lenses and they are currently unhoused. He bought light weight Van Diemen housings for them but is not experienced enough to attempt to house them himself. Does this group know of anyone in the LA area that has experience in this field? Any help would be appreciated. O.R
  2. So I have been testing various lighting techniques, book light etc and I have come across one in which I have really fallen for "overhead lighting". So in talking to a DP friend of mine he mentioned that the overhead soft diffused lighting I love should only be used sparingly. So my question to the group iso you agree with him that this technique only works for scenes are justified for it. Such as a scene where a practical over head light can be seen in the scene. I am working on a film that is heavily styled and I dont care about natural realistic lighting, I like the look gives the actors, granted you place a reflector under them so they dont get dark raccoon eyes. In the film Birdman I know it was justified because it was low ceilings with fluorescents visible. I love the scene in the bar with Edward Norton and Michael Keaton as well as when he confronts the theater critic.
  3. So I have started experimenting with the book lighting technique. The light quality is beautiful how it lands on talent however I find that it spills everywhere including the walls. I have used flags but have not had the type of result that I want. Is there something I am missing in terms of controlling the spill?
  4. So I just bought a calibrated LG CX TV and watching a Roger Deakins film Goldfinch made me envious of the visuals. I realize I don't have the resources that Deakins had in that film but I would love to be as in the ball park to those images. I am shooting with the Arri Alexa classic on Sony PL lenses and grading in Davinci. The only thing I have yet to fully dabble in is doing an up res. On the Alexa I am shooting arri raw 2.8k and I am looking at the best way to up res it to a slightly sharper cleaner image. Since I dont own the full version of Davinci I haven't been able to use Super scale option. Is this the best method to achieve a higher res look? Thanks O.R
  5. So I am trying to achieve that gorgeous highlight roll off Deakins does in his work. From research he usually works with HMI type units. For testing I want to rent some lights but I am wondering if that look can be achieved from lighting LEDS through muslin as opposed to bouncing them with stronger lights? Since I don’t own HMIs I am unable to test both.
  6. Just saw this response . Your work looks amazing out of curiosity you mentioned an Enzio monitor, I am in the market for one which one do you use?
  7. So I take it it’s not worth the hassle and the cost to sell my classic to purchase an xt when all I care about is the image, and have no plans to shoot anamorphic?
  8. Hello group: So while I am happy with my Alexa classic I have been seeing a lot of the ALexa XTs for sale at practically the same price point I paid for my classic. It’s bothered me that if I had waited a year long I would have owned a newer version of the camera. Out of curiosity besides the XT having a ton more inputs and connections, and the ability to record Arri raw in camera. Are the image quality the same? Because in the end that’s what matters to me the most. thanks
  9. Hello group: So I have always wondered this question. What is the workflow or grading process that is different from an amateur color grading one. For example I have never seen a low budget film shot on a shoe string budget have the same polish of a Hollywood film shot on the same camera. Besides the obvious production design, sets, cinematography the lower budgets in my opinion never come close to the prestine look. Is there a secret sauce they use in the process? Even when they release deleted scenes which they didnt bother to finish their footage looks amazing. IN TIME shot by Roger Deakins has a lot of deleted scenes that werent finished but they still look great. And yes I know Deakins is a genius. Thanks
  10. Hello group: Apologies if I am posting this topic in the wrong thread.. So I am just curious what the purpose of ARRI RAW convertor is. I like everyone works with Davinci which works easily with arri raw files. However I did download the app and got some interesting footage out of it. For whatever reason the footage looks sharper and cleaner coming out of arri raw convertor, but it applies a baked in look. Perhaps I am not using it correctly just wanted to get all the more experienced observations from the tech heads in this forum. Thanks O.R
  11. Thanks David always a pleasure to hear from a experienced DP as yourself. You are very generous with your knowledge.
  12. Yes I want to record raw. My goal is to achieve the highest quality footage possible. I was told shooting raw 2.8 to the Odyssey and then going through Arriraw concert or is the best option to get high quality footage I am just trying to verify this.
  13. Yes I am asking if there's any benefit for someone like me who shots arri raw to go through the added step of going through arriraw convertor. This person mentioned you squeeze out a higher quality image through this process of Arrirraw Convertor as opposed to just recording raw to the Odyssey.
  14. Hello group: So I was on a ARRI camera owner group where someone posted that using the arriraw converter you can convert footage shot on arri raw such as the odyssey 7q to native 3.2 or 4k upres no different from the mini. The only difference the guy who posted said is that the mini does it in camera as if you owned a ARRI ALEXA CLASSIC with Odyssey 7q you would have to do it in post using the arriraw converter.. Is what this person saying true? What are the benefits of this? I have been looking at numerous articles and videos but have not found any information to back up the statement. Any help would be appreciated O
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