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Tyler Clark

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  1. How important is a Phantom Tech on set? Are they mostly utilized in the RAW to proxy conversion process?
  2. How close can your subject or frames be safely to a 24k fresnel? Are there any other safety concerns using it in a smaller studio? (Half Cyc)
  3. Have a yogurt commercial coming through and the Probe looks like a nice option as I have some direct overhead shots and some straight on as well as general macro content. The 90 degree adapter looks like it would fix my issue of putting a phantom rig pointing straight down at a table. Any glaring disadvantages I am unaware of aside from a deep stop?
  4. Thanks for the tips guys! Not to say the gear makes the image but would a 10 or 12 bit camera have handled it better? Or at least allow for more range when dialing it in? Currently when I mask the cape, the adjustments look unnatural pretty quickly.
  5. Thanks for the Tip! As far as the luts go I tried fuji and kodak and they both had the same problem. I ended up creating my own curve off the C-log footage in the meantime but would still love to hear from anyone who would know why this happens.
  6. C300 VisionColor C300-CLOG_Kodak Gold Gen.6 200_CIN OSIRIS Vision X Log 32 Does anyone know why these LUTS are causing this red to pop so intensely? Everything else looks so natural. I have to go in and key back the cape on every shot.
  7. Does anyone know how to take a rig like this http://www.radiantimages.com/virtual-reality/vr360/1037-dark-corner and make it move without the need to paint out anything in post? Was looking into motorized dolly's and could only find cranes.
  8. I feel like its not possible to have enough of this. What are some of the biggest things everyone has learned that helps the cinematographer and the producer see eye to eye and get what everyone needs to make the project a success?
  9. Did some narrative recreation to the inspiration of Coen brothers. Would love some good critical feedback.
  10. Also should I look to finding a dolly grip and go by his lead for that need or a key grip and dolly grip?
  11. Have a gig coming up that calls for a 2 non stop 30 second straight shots with talent addressing camera. One of those shots has to land on a screen full of a blue print that will be sitting on a table for animators. I am hesitant to use a gimbal as the person speaking is the head of a large company and I've been advised "He doesn't like doing many takes" However we will be on location in an office building with 2 person sized hallways that we have to maneuver through and I don't have much experience with working with a dolly team to be confident in saying if that is possible or not or what dolly would be the best choice. (I am only really familiar with matthews and fisher). Should I gimbal it or Dolly it? What dolly would be best for the situation if so?
  12. Do people do this? What's the Best camera cart to fly with?
  13. Also for anyone whos done this, what were some of the biggest challenges?
  14. Might be doing work with this soon. Does anyone have any good resources or articles on planning, executing, and finishing in post they could link too?
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