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Alex Fuerst

Basic Member
  • Content Count

    15
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About Alex Fuerst

  • Rank

  • Birthday 10/03/1984

Profile Information

  • Occupation
    Cinematographer
  • Location
    Dallas, TX
  • My Gear
    Canon 7D, 5D, C100, C300, Blackmagic Pocket Cinema Camera
  • Specialties
    cinematography, camera operation, lighting design, apprenticeship, mentorship, film production, film, digital acquisition

Contact Methods

  • Website URL
    http://www.alexfuerst.com
  1. So I bought the Angenieux 17-68mm f/2.2 c-mount lens for my MFT cameras and I am wanting to use my variable ND filter on it. Obviously I needed a step up ring adaptor. I read at vintagelensesforvideo.com in the comments section of the post about this lens that it was most likely a series 7 filter. So I bought a series 7 to 58mm adaptor; I was way too big. I then bought a series 6 to series 7 adaptor; this was barely too small. I've gone to all the local Dallas/Fort Worth camera shops and they all have no clue. Does anyone know what the front filter specifications are for this lens? Any he
  2. Much better Matt! I like that you broke up shots and spread it through out the reel. There's a lot more camera movement and that's a good thing. Nice work!
  3. Glad to hear your talent were using pads. Hope your camera man is feeling better next time you shoot. Best of luck!
  4. Hello fellow cinematographers and film makers! If I could borrow 3,750 frames at 24fps of your time to review my new reel. It would mean a great deal to me if you could offer some critique afterward. I'm in the middle of a huge push to take my work and career to greater quality and new opportunities. Any feedback would be greatly appreciated. I would be happy to return the favor. Thank you and happy shooting! Alex www.alexfuerst.com
  5. Noah, I'm going to be open with you about my opinion of the video you posted. It was hard to enjoy or visually understand what is happening for the first 2 1/2 minutes. Everything is out of focus and appeared to be shot vertically and presented horizontally. If this was intentional to serve a purpose for the story I completely missed it and feel it did not work. Make sure your camera operator knows how to properly focus, expose and frame shots with good composition. The audio mix with the music also makes it difficult to understand dialogue. I personally believe that it is NEVE
  6. I'm very much looking forward to using (hopefully buying) the CION. I think I've figured out a more cost effective configuration of the CION by forgoing the AJA Pak media cards and reader and get the Atomos Shogun monitor/recorder for roughly the same price. The Shogun will record 4K at least at 30p to ProRes HQ or CinemaDNG RAW on 2 SSDs or SSHDs of my choosing. Now I have my most used frame rates and preferred codecs plus a great field monitor. (You could go with an Odyssey 7Q for a more money but then your stuck using another proprietary media card) Zacuto's Gratical OLED EVF looks like
  7. Very interesting, on the cheap solution. Might just have to play with this one to see what you can get. David, I agree and would probably approach this very similarly with Kinos if budget allowed. Thank you for sharing your wisdom! I definitely remember using this back in film school. We used the larger 150w CFL bulbs if I remember correctly. Very good alternative and reusable!
  8. I think it all depends on what kind of jobs/projects you are trying to get. Honestly I would have a short 1 minute or so teaser reel and separate 2 to 2 1/2 minute reels for narrative/music video, doc/reality and corporate/industrial. It's a little more work but, just like a resume, it's better to have something more inline with the job you are getting more so than something with a broad approach to showcasing work. Those are my thoughts. Best of luck and happy shooting! Alex
  9. Let us know when the new one is done. Would love to see it.
  10. I agree with David. Lighting always, always should support the story. Look at the subject's eyes and watch for the reflections of the lighting setup. To me, it looks light they had a space light hung from overhead (probably a 1K or 2K with a skirt), the visible kicker from camera left and a light on the background (looks like it might even be backlighting the background material). There might be a fill light or bounce coming from camera right. It's going to be a challenge to get the same results with the lighting you listed above. Using one Dedo as the left kicker is the easy part. Yo
  11. What shot? There is no reference photo or link visible in your post.
  12. I've got mine from Bolt Productions (2 HSs and 2 LSs) and Electric Light & Power Co. has the older PRG versions which have much larger ballasts than the current Cineo ones (also at a higher rate if my memory serves me right). I've been putting the bug in the ear of some of the MPS and MLD Video guys to get some (especially the Mavericks and Matchstix). MPS, I'm sure, has different gear scattered among their various branches and simply ship gear when needed elsewhere. As these Cineo lights are newer products and let's say only the Dallas branch gets them in stock they may want to see ho
  13. Rob, Look at their new (soon to be released) Maverick in this video starting at 3:28. It also shows the matchstix, Foton2 and TruColor HS in action. I'm not a fan of ballasts either. The Maverick does not have a ballast, only an Anton Bauer or V mount battery plate and dimmer knob. It has an output of a 1K (9000 lumens). No Litepanel or similar 1x1 LED boats that kind of output or soft light quality. Changing the phosphor panels to a different color temp would take less time than putting on a soft box and closer to time of adding a gel. (which you can gel these as well if need be)
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