omar robles

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?

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?

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 It’s bothered me that if I had waited a year long I would have owned a newer version of the camera.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

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

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

Thanks David always a pleasure to hear from a experienced DP as yourself. You are very generous with your knowledge.

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.

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.

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

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

So a 300D diffused with a Lightbox and also going through diffusion wouldn't get me the desired effect?

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

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

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?

So is there anything else in the clips that you have noticed? A certain film like softness?

My eyes might be deceiving me but I don’t see the teal and orange look in the Michael bay sense of the word.

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

Thanks you guys very informative

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.

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?

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.

It’s the ultra thin 3g sdi cable. I bought it from b and h

I am using an SDI cable. I have only connected to one input on the 7Q the SDI A

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

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