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Ryan Fleet

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Ryan Fleet last won the day on June 25 2018

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About Ryan Fleet

  • Rank

  • Birthday 01/15/1991

Profile Information

  • Occupation
    Editor
  • Location
    Buffalo
  • My Gear
    Bolex Rex 4
  • Specialties
    Video Editor - Colorist

Contact Methods

  • Website URL
    http://www.Cumbo.com

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4317 profile views
  1. Great info, I'll look to bring more travel pop up negative fill. I was thinking of throwing one directly over top of the talent and then one on the side to create some shadow then using a really soft light to fill in and maybe add an eye light. I did some digging and I think I found the spot you're talking about. Was it for Vice? Looks like you kept it tight and shallow and then the grade was a little desaturated probably because of the mixed lighting? Thanks Robin, yes, i'm from the US, I'll use 1/60 shutter to be safe!
  2. Thanks for the feedback, very helpful! Max, this is going to end up on their social channels and played at an annual internal conference. I have some Dracast Daylight LED panels I'll bring one of them with a soft-box, gels, and V mount to Power. I'll have some negative fill and bounce on hand. Most of these stores are in a mall setting with no windows so that is my biggest concern. It may or may not be that big of a deal because generally malls have giant windows on the roof that by placing the subject closer to the store opening I should be able to get some of that daylight coming in. But obviously you never know until you get there. Good point about the audio. Trying to get the internal music turned off in the store will be very important. Hoping the internal Mall music isn't going to be terribly loud. I thought about using my zooms the Canon 24-70 F2.8L and the Canon 70-200 F2.8L but was thinking maybe to get a little better of a look to use the primes. However, I agree with you that zooms are going to be easier to work with, so I might leave the primes out. Something I didn't mention; I'm also thinking of having another camera body with same settings set up with a wider focal length to go at any moment. Either on a Ronin-S Gimbal or just hand held. I'm thinking about B-Roll and also portraits of the talent shot HFR with a little push in. I'll have to get an assistant too. Good point about not wanting to leave gear around un-attended and shopping malls can create long walking distances between your car. Robin, frame rate is 23.976 1/50 shutter but I'll have to adjust it to get rid of any present flicker from the practicals. Bottom line is I'm just going to have to work within my constraints because I can't bring a lot of my gear. I just wanted to be thoughtful about the look of this to the best of my ability. I'm going to try hard to turn the practicals on or off for my needs and place the talent where I need them. From what I know the talent is eager to be on camera and know I'll be coming in advance so that should work in my favor. Thanks again for the feedback.
  3. I'm shooting some retail interior store interviews during store hours. Most are located inside store malls. I'm told I can't disrupt traffic in the store so turning off some of the lights might not be an option. I'll be shooting with two Sony A7sii and some Zeiss Milvus lenses. 25, 35, 50, 85 F1.4 Trying to figure out what I can pack for lighting that I can easily travel with and fly with - with a solo crew. Keeping a small footprint in the store is going to be some what important. The stores are not going to be the giant stores like a Macy's or Jc Penney's. I'm told it will be a small store like a jewelry store. My first thought is to just keep it simple and bring some negative fill and do what I can with it. Another thought I had was bringing a very simple china ball or something that could just add some very soft fill to the face. These obviously aren't high budget but I do want them to look good, given the circumstances. Does anyone have any tips on things that could be useful in a scenario like this?
  4. Will, My original model Scoopic was pretty accurate as well, after I found the film plane and then marked on the outside as Dom suggested and Robert did. I have no complaints with the original Scoopic other than the obvious lens is just not sharp on the original Scoopic. I've since sold the Scoopic and bought a Bolex Rex 4 which I'm happier with. However, the Scoopic is a great camera and one day I would definitely love to try out the MS version.
  5. Robert, Sorry, just seeing this now. The Canon Scoopic original model viewfinder does NOT loose light when you change the aperture. Good news is, I'm sure everything in your camera is in working order. Here is a test I did with my Canon Scoopic original model.
  6. Sandra, In short, it is all of the above. But It really depends on the project (commercial, web, theatrical, etc..) and the people involved. Strictly talking feature films the term "Directors cut" is not from the editor making all the choices, but more of the Producers and Studio having the final say. The Producers and the Studio and whoever owns the rights to the movie, generally have the final say in the edit and what gets released to the public. Then, if the director wants too/allowed too, he will work on a (Directors cut) with the editor. This can be released outside of the theatrical public release dependent on what the Producers and Studio allow. As a Director, you generally don't own the movie, you were hired to Direct. Same with the Editor, you were hired to Edit the movie according to the script/creative. Obviously, there is always room for creativity but ultimately you don't have full creative freedom and make all the decisions yourself. There are teams of people behind projects and it's a very collaborative process. At the other end outside of Hollywood productions and feature films you might be delivered a hard drive full of footage and given very limited creative input and you just need to make something "good" for an event edit or product edit, etc... You could be in charge of the edit, music, color, gfx all at once. This is a very short answer and I'm sure others will have better input but I hope this gives you a basic idea.
  7. Selling an FSI AM210 2019 NAB Floor model. I bought as an advance purchase back in March and don’t need it anymore. The monitor arrives tomorrow. Which will have never been opened or used by me. Free Fed Ex ground shipping. Attached my invoice for the advance purchase.
  8. After reading "A T-stop is an f-stop mark corrected for actual transmission (exposure)." - it would be correct for me to say... When I use my Sekonic L-478D meter to measure the light and it gives me a reading of F5.6, I can set any lens marked with T stops to T5.6 and it will be a more accurate exposure compared to any lens marked with F stops to F5.6? What I"m really trying to figure out is since my meter gives me an F stop reading will a cine lens marked with T stops be an issue for me or is it as simple as just setting the T stop to the F stop reading?
  9. Dom, Thank you so much, this is very helpful!
  10. Exactly what I was looking for. Thank you so much!
  11. My topic title is clunky but what I'm trying to understand is how 1 stop of light is calculated in all the different measurements. I'm guessing there is a chart somewhere but I couldn't find anything that seemed reliable or that had any explanations to what the math was. What are the increments of one full stop for F-Stops is F2 to F2.8 is that one full stop and what are the stop increments before and after that and how are they calculated. What are the increments of one full stop for shutter speed do you just double it? 1/50 to 1/100 is that one stop? What are the increments of one full stop for ISO/ASA is 100 to 200 one stop? is 160 to 320 one stop? do you just double this as well? I searched the forums but the search function didn't turn up what I was looking for. If this is already discussed can you please point me in the right direction. Thanks, Ryan
  12. Digging this thread up from way back... I have a Kern Switar 10mm Preset lens with no front cap and I'm trying to purchase one for it. Does anyone know the filter/thread size? I also need a lens cap for my Switar 16mm lens which stated above is 33.5 filter size. When I eBay search for the lens caps I don't see anything near 33.5 the best I can find is a 30mm lens cap. I'm specifically looking for the aluminum ones that say Kern Paillard on them. Just by looking at the 10mm preset next to the 16mm its clearly a lot larger than 33.5mm if thats the correct measurements for the 16mm. Any ideas on where to get these lens caps? Thanks!
  13. Dom & Simon, Thank you so much for taking the time to explain this I really appreciate it and I'm excited to shoot my rex 4 tomorrow! Dom, awesome site to link me to exactly what I was looking for! Thanks, Ryan
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