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AJ Young

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AJ Young last won the day on January 16

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About AJ Young

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  • Birthday 01/13/1990

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    Los Angeles, CA

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  1. I like wide anamorphic lenses! The distortion on a Cooke 32mm is fun.
  2. No budget and really barebones is quite a challenge, but have you thought of doing the opposite? The light rig stays put and the camera, actor, and BG are all on a platform that spins? It's easier to DIY a spinning platform (aka "lazy susan") than to safely DIY an overhead spinning rig.
  3. I can't control the weather! Also, I take it you didn't look at the link I also posted. That short was shot in the shade, but has a lot of silhouettes and contrast. Satsuki, Stuart, and Robin: thank you! Satsuki, your stuff looks great too!
  4. I shot this proof of concept for a feature back in 2015 on the FS7 and it turned out great! All natural light and I did the color grade myself because the director and I were trying to raise the funds for the full length feature. We got the feature funded, shot principle photography on the Alexa Mini with Cooke Anamorphics. However, they decided to use include nearly all of this footage into their final cut and it was easy to get the FS7 footage to match the Alexa. I also shot this short film recently on the FS5 with a lighting package that could fit in my car. Again, mostly natural light: http://www.ajyoungdp.com/abitn In my opinion, the FS7 and FS5 are great cameras. Slog3 is pretty stellar and is a fantastic starting point for a color grade. Plus, the native ISO of 2000 makes shooting indies so much easier!
  5. Okay, what open ports on the side? It's a pretty well sealed camera.
  6. There's nothing wrong with having an opinion, but if you're expressing it as fact then you've got to back it up like Yedlin did. So, then it's a wash in terms of theatres closing/opening? As in the theatre industry is responding to the home viewing experience by adapting to the market? How is it a problem when an audience doesn't live near a city? (I'm getting close to conjecture here) Forgive me, but I'm using my anecdotal experience with independent features to assume that musicians make most of their income from streaming/VOD. Do you have any stats to back up that they don't? As for filmmakers making money on VOD/streaming, I can confirm from both personal experience and case studies that VOD/streaming makes a lot of money for filmmakers. I've shot 9 features so far and all of them are making money from VOD/Streaming. Furthermore, the case studies at Sundance and Film Independent confirm that VOD/streaming generates revenue for the filmmakers, putting them into profit territory. This is my experience with independent film, so I can't confirm that major motion pictures make more money at the box office or online. However, revenue for those films goes beyond box office sales because they're tied into merchandise and licensing. Additionally, those films are designed for maximum box office success unlike independent films. How does the argument that a physical medium like film or a film theatrical run can make more money for a movie, given the reality and nuance of distribution? So then, what does film have to do with it? What does shooting in a "reserved" fashion have to do with it?
  7. What open ports? From what I remember, the camera is sealed on top.
  8. The Yedlin piece I shared discusses that viewing distance and screen size are unrecognizable in the example you mentioned earlier in the topic. An awful lot of conjecture and misinformation here. What stats do you have on theatres closing? From these ticket stats (not gross, but number of tickets), there hasn't been much change in theatrical attendance since 1995: https://www.the-numbers.com/market Your nostalgia for film exhibition doesn't equate to quality or general public opinion (or even your own: "IMAX and 3D have been complete failures") I don't understand the relation here with digital exhibition and CDs. CD's were replaced by streaming, not vinyl. You can cherry pick the stats to make it look like vinyl made a comeback, but distribution is about the lowest common denominator, so streaming/VOD has taken over as the means for musicians/record labels to make money. At the end of the day, digital (wether streaming, CD, DVD, CRU, etc), is the format that makes money, the format that makes a profit. That doesn't make sense, given these quotes from Deakins on shooting digital: "The Colorstream process is really, really precise. Between the on-set calibrated monitor and calibrated dailies, you always know the image you’re going to get. So several months later, in the color suite, you don’t have to go back to scratch. That saved us a lot of time." "With digital, because I could basically see the final image while I was shooting, I felt I could push myself a lot further creatively." It doesn't sound like he's making any mistakes if he's able to correct them on set.
  9. I believe you're over simplifying the theatrical experience vs. home viewing experience. Resolution isn't black & white. Steve Yedlin ASC points this out in his Resolution Demo's: http://www.yedlin.net/ResDemo/index.html Theatres have been struggling for years to combat home theatres. A decline in ticket sales is one example, so the industry has responded with higher ticket prices. However, they're implementing new experiences to the theatre that draw in the crowds like alcohol, premium seating, and projection marketing buzz like "laser", '3D", and yes even "film". Theatres are now innovating with subscription models which could bring back more viewers. (oops, conjecture!) I was a projectionist for 6 years and I'll swear on my life that film projection is archaic, inconsistent, and unreliable in comparison to digital. I don't disagree that how a movie is exhibited can be some sort of a draw for audiences (IE IMAX 70mm), but distribution is about the lowest common denominator. Most of the money major motion pictures make are through digital projectors and DVD/VOD/Blu-Ray. IMAX/70mm/35mm draw in niche crowds, but are insignificant in comparison to how the rest of movie makes money. However, how a movie is shot has ultimately no effect exhibition in regards to distribution (which is about the lowest common denominator). Fringe exhibition formats like IMAX 70mm definitely show the short comings of anything that wasn't shot on IMAX 70mm, but it's a fringe exhibition format. When we boil it down to the reality of distribution, shooting format doesn't matter. Yedlin shows it here: http://www.yedlin.net/DisplayPrepDemo/index.html Here are a few quotes from Roger Deakins ASC BSC: "Mostly, I found shooting digital very freeing. If I were shooting film, I would always try to err on the side of safety when I was doing something risky, to make sure I didn’t lose my blacks or reveal something I didn’t want to see. With digital, because I could basically see the final image while I was shooting, I felt I could push myself a lot further creatively." "Sometimes I get annoyed with the garbage I hear about film vs. digital. Most of it is simply nostalgia and silly thinking. I love film, sure, but [the Alexa] has brought us to a point where digital is simply better. In my opinion, there are now more advantages than disadvantages to digital cinematography." Source: https://theasc.com/ac_magazine/November2011/InTime/page1.html In my opinion, some of Deakins's best work has been recent: Prisoners, Blade Runner, and Skyfall. GORGEOUS movies.
  10. I've used an Intel-a-jib with a remote head and it works great! I highly recommend the jib. (I can't remember the brand of remote head, but we flew an Alexa Classic with Cooke s4's on it)
  11. We've sidetracked into a lot of conjecture, here! If I were to have a dream budget, I'd also spend a lot of R&D creating or using new equipment like an experimental sensor, new light source, etc. I admire the innovation Lucas spearheaded with Attack of the Clones. The last most recent person, I think, to do this was Cameron on Avatar. He seriously set the bar for motion capture, CGI animation, and 3D. That's what I would want to do with a dream budget.
  12. If I had a dream budget, then I'd do a 3D rig with two Alexas to create an HDR image with the two sensors. 🙂
  13. DaVinci Resolve 15/16 Studio can work with H.265/HVEC just fine, I haven't run into any issues at all. I'm not sure about AVID, but in my experience AVID prefers MXF.
  14. I couldn't agree any more! The word is that the S1H is stellar and the codecs are pretty decent given the size of the camera.
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