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omar robles

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Everything posted by omar robles

  1. I read a lot of ASC magazine and bouncing of unbleached muslin is mentioned a lot. My question is if your lighting with LEDS and want the softness of bouncing off Muzz can you just light it through the material rather then bouncing off? My understanding is when you bounce off muslin its because your working with strong units like HMIS correct? Apologies if this has been discussed before
  2. So a 300D diffused with a Lightbox and also going through diffusion wouldn't get me the desired effect?
  3. Hello group: I currently own a LITEMAT 4 S2 and I want to accompany it with another light. My first instinct was to get another LITEMAT to partner it up with. However one gripe I have with the litemat is that its not as punch as I would like in certain situations. I have come across a lot of videos on the aperture 300d mark 2 light and one has become available for sale. So my dillema is which light to get. If I were to get the APARTURE 300d will it void using the LITEMAT in the same shot since they are a similar quality of light? One thing that has me thinking is I love to diffuse it with bleached muslin. Does it matter what light you use as long as you use a similar material to light through? I have a cinematographer magazine article where Lubezki claims that it doesn't matter what light you use in the end when your only going to be blasting them through diff. Any help would be appreciated Thanks O.R
  4. Hello group: So I currently own a LITEMAT 4 s2 and I am very happy with the light. My only gripe with it is that its not as powerful as I would like. I hear the new version is 40 percent brighter then the one I own, however it is also double the price. A DP friend recommended to me the Aputure Light Storm LED COB 120D. In doing research I was impressed with the videos I saw of it. My only issue with it is that is 6000k daylight and I prefer to light 3200k. So I have a few questions I hope some of you might provide me answers. 1) Can you gel the APUTURE 120D to get it to tungsten light easily? 2) Can you mix the two lights in a filming? The litermat and the aputure even though they have different CRI? 3) Should I just get another used LITEMAT 4? Any advice would be appreciated O
  5. Just wondering what did you guys view your finished work on? I used to like viewing my finished work on my large screen TV by playing a burned disc. However with physical media dying and my television being 4K I have adopted to putting my footage on Vimeo and watching it on my Apple TV. Unfortunately streaming sucks and I feel I am not getting the best viewing quality out of my footage. My footage looks great on my iPad but is that a good indicator of its quality? Are there any other things I am missing in order to view my footage the beat quality besides watching it on Vimeo or YouTube on my Apple TV?
  6. So is there anything else in the clips that you have noticed? A certain film like softness?
  7. My eyes might be deceiving me but I don’t see the teal and orange look in the Michael bay sense of the word.
  8. Hello Members: I am a novice when it comes to color grading so I apologize if my inquiry seems dumb, but I am obssesed with finding this out. I noticed that a lot of commercials and music videos from Spain, Mexico city and some european countries have this similar type of look which I describe as the "euro" look. It has a very organic film like look to it. I have spoken to a few DPS and colorists from some of those videos which I admire and they downplay their work a little. For a while I believed they used special filtration on the lenses but one of my favorite videos the DP told me they shot it clean. Besides the obvious answers that it is lighting, production design what is that element that i am missing. https://vimeo.com/371955754 https://vimeo.com/200411652 Thanks in advance O.R
  9. Hello group: so a colorist I was speaking to told me the secret to get a filmic image besides the obvious lighting, production design etc is the way you deal with the highlights in post. So in doing reasearch I discovered a lot of Colorist’s isolate the highlights in davinci and slightly blur them. Is there anything more in working with highlights in order to get the professional look? Like I look at Roger Deakins work with digital and that’s what I aspire to obtain.
  10. Hello group: So I am watching this ROB ZOMBIE FILM " THREE FROM HELL" and to my amazement after viewing the special features on the film they discussed shooting it digital. The film was shot on the Alexa mini. If any one has seen the film you would swear it was shot on celluloid. On the special features they show raw footage and people viewing footage on set and it looks like film right out of the camera. My question is besides filtering is there a method for getting that film look in camera?
  11. Hello group: I am shooting a project on the Alexa classic and I have scenes in a car that I plan to use the mini on. My question is will the footage match in post? I ve been told different things. One person told me since they have the same sensor they have the same look. Another told me they have a different look and won’t match. Since I don’t own a mini I am unable to compare. Any information you can provide to save me from having to spend money on testing would be appreciated.
  12. It’s the ultra thin 3g sdi cable. I bought it from b and h
  13. I am using an SDI cable. I have only connected to one input on the 7Q the SDI A
  14. Hello group: So I noticed when I shoot my arri alexa classic to the odyssey 7q the image pops in and out when the cable that leads to the camera is slightly touched. I have already bought two different cables and i still have that issue. It sucks because if i am recording something to the 7q and fidget with the cable the recording stops. Any help would be appreciated. thank you O
  15. So I purchased a ARRI ALEXA CLASSIC and it came with a baseplate that takes 19mm rods. Unfortunately for me my old arri follow focus only works with 15mm rods. Are there any other baseplate available for the Alexa that take in 15mm rods? I tried bushings to use both 15mm and 19mm but I didn't have success with it. Thanks
  16. It’s not a zoom lens it’s a Sony cinealta prime lens.
  17. Hello Dom You raise a interesting question. I am used to shooting with a SONY F35 unfortunately that camera only shot at 1080p so the arri Alexa footage shouldn't be softer at 2.8K.
  18. Hello group: So I finally pulled the trigger on a Arri Alexa classic. The only issue I been having is my footage is coming out a little soft. I am shooting currently arri raw on a odyssey 7q. But even with focus assist my shots look softer then they should be. I am using Sony cinealta primes as my lenses at sometimes a 4.0 stop. Is it a monitor issue or camera issue? thanks
  19. Sorry I misspelled my email it is orobles1214@gmail.com
  20. In the market for an Arri Alexa plus, XT, or 4:3 plus. My budget is 13k for an xt or 10k for a PLUS. If anyone has one and is interested in selling email me atorobles1214@gmail.com. Thanks
  21. yes but its almost twice as much as the other cameras.
  22. Apologies for posting so many questions but I am close to deciding which camera to get and my mind changes day to day. I am torn between 3 cameras ARRI AMIRA, ARRI ALEXA XT, ARRI ALEXA PLUS 4:3. 1) AMIRA : This camera is lighter then the others and shoots up to 4k uhd. However it doesn't have the 4:3 option and anamorphic is something that i might shoot down the line. 2) ALEXA XT: It shoots up to 3.2k and has the anamorphic option but it is really heavy. 3) ALEXA PLUS 4:3: It shoots anamorphic but the most resolution it shoots is 2.8 arri raw with a license. Although it is 10k cheaper then the other two cameras on my list. What would you all decide?
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