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Satsuki Murashige

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Everything posted by Satsuki Murashige

  1. They have a 4m x 4m frame, so a bit larger than a 12x12 frame for us Yanks... It sounds like a good approach to me. I’d only add, try to schedule your wide shots for when the sun is where you want it and you can fake the tighter shots. Since you’re shooting B&W film stock, don’t forget that you can use contrast filters outside. I would also consider using ND grad filters if you get totally overcast and can’t darken the skies with Red or Orange filters.
  2. A neutral perspective would suggest a moderate wide-angle to medium focal length lens with a level camera (not tilted up or down), at a subject-to-lens distance that is not overly intimate nor overly distant. Perhaps approximately 4-8’ away. Naturally at that distance and lens, you shouldn’t need to tilt the camera to maintain headroom if you lower the camera height to about chest level. A good rule of thumb is, the wider the frame, the lower the camera. Full shots would be closer to waist height. Close ups are usually close to eye level for a neutral perspective. ‘Perspective’ is the key term here, and is mainly determined by subject to lens distance. If you want the audience to feel more intimate with a character, move the camera closer.
  3. As Uli suggests, there are aesthetic considerations and there separate narrative language considerations. So you have to decide if you’re trying to make the audience feel a certain way about the characters and what’s happening in the scene, or whether you’re just trying to make the actors/subjects look proportional - for example, a lot of fashion and architectural photography falls into the latter category.
  4. With regard to AB5, I have noticed that out of state and international Prod Cos are still paying via 1099 instead of payroll. CA based Prod Cos are all doing payroll now in my experience.
  5. Lol, I knew someone was gonna give me grief about that... I guess I shoulda put ‘dog catcher’ or something, but the reality is even PAs make $300/day up here!
  6. Maybe not that much... Bring it down a notch, Jim.
  7. Also, every DP needs an ego - if you don’t believe in your own talent or love your own images, it’s gonna be tough to make it. But you also need enough humility to be realistic with yourself about where your skills are right now, and how they compare to where you want to be. Then you need the patience and tenacity to start building up to that level over time. It’s a long journey that never ends.
  8. P.S. It’s not about getting enough reps in, it’s about getting quality reps.
  9. Most people starting out do both - crew on bigger sets to learn and make money, while shooting freebies and no-budget stuff on the side. The two biggest hurdles in the beginning are not knowing how to shoot or light the way you want, and not having the opportunity to try it with a good location/actor/experienced crew/equipment. So one approach feeds the other - you learn ‘how’ by watching people who know how to do it; you get access to crew and gear by meeting people who have it; then you apply what you’ve learned over and over until it doesn’t suck anymore. And hopefully you get enough chances to practice because the people you’ve met along the way like you and believe in you.
  10. Well, if polyester-based film jams in your camera, it will wreck the movement instead of tearing like acetate film. So it’s pretty strong!
  11. Of course, with an invoice job, all the rate details should have been worked out in advance of the with the producer who hired you. But if your deal was for a 12hr day, then that assumes OT after 12. Not sure if double time would then start at 14 in your case - here in the Bay Area that would generally be the deal. But it’s best to get these details in writing/email when signing on to your next job.
  12. Are you making up an invoice or filling out a timecard? With a timecard, you just put your daily in/out times and production fills out the rate info. Usually, crew rates are on 10 or 12hr days but CA labor law is supposed to be OT after 8. So there’s always numbers that the accountant has to fudge to make the math work. If you write in the rate boxes, they’ll just have to amend it or fill out a new one for you anyway. With an invoice, I put my normal rate, OT, and Double OT as separate line items. For example: DESCRIPTION RATE AMOUNT 3__DAYS____Director of Photography__$100/10____$300.00 2__HOURS__Overtime (1.5x hourly)_____$15/hr______$30.00 4__HOURS__Double Overtime (2x)______$20/hr______$80.00
  13. A colored line would indicate a scratch on the emulsion side of the film. Definitely run a scratch test with the magazine in question. If the scratch is moving around, then it might just be a film chip that’s stuck in the magazine throat and simply needs to be blown out with air. When loading film in the future, it’s good practice to always blow out the magazine with compressed air to remove any dust or film chips that might have settled inside before going into the changing bag. You can also use a soft camel hair brush to remove dust.
  14. It’s hard to tell without seeing your video, but ‘judder’ is an unavoidable part of shooting in 24fps if you’re filming fast action. As you mentioned you can slow down the camera movement, slow down the car movement, or move further away to minimize movement. But if you can’t do those things, then you’re going to get choppy motion rendering. What I would avoid is slowing down the footage in post - the issue is with the relatively low number of frames you’ve captured in camera, so slowing that down will only make it more obvious. I would suggest trying to shoot everything at 60fps (or higher if you can do it), and using a 90 degree shutter for less motion blur. In shutter speed terms, 180 degree shutter at 60fps would be 1/120, so 90 degrees would be 1/250. If you want the footage to play back in slow motion, then change your project timebase in Premiere to 24fps - then the 60fps footage will play back at 2.5x slow motion but with smoother motion due to the higher sampling rate at capture. You’ll also have much less motion blur which may help with the juddery feel - you’ll have to experiment to see whether you prefer less or more motion blur.
  15. I have learned the hard way to turn off the center crosshairs on the camera markers when using the Pix for this purpose!
  16. I haven’t used the Ninja V or Video Assist 5”. I guess if you plan on recording Prores RAW in the future, the Ninja V would be a good choice. But lack of SDI input makes it useless with most professional cameras. Have used the Video Assist 7”, nothing to write home about. It’s lightweight at least? I have a Pix-E7 which I like a lot except for: - weight w/ batteries - long boot time (Over a minute! Reminds me of a Red One) - mediocre focus peaking (colored only, no ‘aperture’ style) - power hungry (more than my camera!) - not very bright outside But otherwise the image is very nice, the Prores recording works great (best recording media implementation by far), it’s built like a tank, and the other monitoring and conversion tools are great. The screen does develop a fine pattern of little micro dots over time, probably from the bonded gorilla glass screen separating. It’s bright enough not to be distracting while shooting, but you’ll notice it when it’s off. Also, if you continually lose power while running, the Pix can start to freak out and not boot up consistently anymore. Reflashing firmware does fix it, but it’ll ruin your day on set when it happens. For that reason, I always keep at least one battery on, even when powering thru AC or d-tap. Makes it much heavier unfortunately. You could try the 5” Pix-E5, which has most of the same attributes in a smaller package. But I think you’ll struggle to find focus with it and the bezels on these monitors are quite large, so you’ll be getting a smaller picture than you might expect from the 5” spec.
  17. Yes, the extension works fine with both doors. No, not for sale unfortunately. But these should be very common.
  18. Agreed, it works well for that use. Another (free) tool that I think could be better is ARRI Look Creator. It’s rather clunky for creating look files, I kinda wish ARRI cameras would just accept .cube LUTs instead, but I’m sure they have their own reasons for doing it that way.
  19. Are you looking at your film scan on a computer monitor? If so, it seems that whomever did the scan skipped a step. It’s normal for the image to be upside down, the lens always flips the image so the bottom of the film gate is the top of the image. This will become obvious when you are dealing with hairs in the gate. But this is usually corrected in film scan (or in the film projector with the projector lens).
  20. I use LUTCalc as well, but mostly to convert an existing LUT from 32x32x32 to 33x33x33, or Legal to Full range. For example, you can only output 32x32x32 when making a LUT in Resolve from the Filmconvert OFX plug-in, and you need 33x33x33 to use in-camera in a lot of cameras. If you need to judge before/after images, I’d rather use Resolve.
  21. The out of focus oversaturated colors was a particular surprise to me in my testing - while small areas of slightly out of gamut colors may look ok when in focus, as you rack out of focus the hard clip edge will become very obvious. Another surprising area of fail was in out of focus repeating patterns like in flatly lit wallpaper underexposed a few stops. This can be an issue with low bitrate codecs as well. You would think that out of focus areas should compress easily, but I had this issue with early versions of the Sony F5 when shooting in XAVC HD. I haven’t had this issue in 4K and XAVC Class 480.
  22. I would start with eBay or Visual Products. There are still a fair bit of ex-Clairmont Camera film camera accessories out there. I bought mag barneys for my Moviecam SL on eBay a few years ago, all ex-Clairmont stock.
  23. The viewfinder was comparable to the SR2, if I recall correctly. Maybe a little brighter. Still hard to judge focus, compared to a modern 35mm format camera. Only used it a few times about 10 years ago.
  24. I suppose the main question is, do you need recording capability? For myself, when I was an AC and operator, it was totally unnecessary. But as a DP, I found it very useful both for playback and for having my own Prores copy of the dailies for reference. If you don’t need recording, then go with SmallHD. I would consider looking at the Cine7. The lighter weight of the non-recording options may be an important factor for you. If you do need recording, then Atomos is the only serious player remaining. If you don’t mind using an obsolete system, then the Odyssey 7Q or Pix-E7 would also work. The Pix has a better overall screen and design, the Odyssey does more things but the screen is mediocre. Neither is a high bright and both are on the heavier side for an on-board monitor.
  25. Which viewfinder door do you have for your 35-3C? I have the Orientable Door and the Anamorphic/Spherical straight door for my 3C. Both are compatible with the old-style two-pronged locating pin viewfinder extensions and eyepieces from the 35-2C and 35-3. I don’t know if a viewfinder extension from a 35BL or 16SR would work, they look similar but the optics might be different.
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