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AJ Young

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About AJ Young

  • Rank

  • Birthday 01/13/1990

Profile Information

  • Occupation
    Cinematographer
  • Location
    Los Angeles, CA

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

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  1. Matthew Allard, ACS did a really great break down of the camera, costs, and what it can do. https://www.newsshooter.com/2020/09/14/achtel-9x7-65-megapixel-motion-picture-camera/ Spoiler alert, the price tag: $143,000 USD
  2. (in the US) Practically speaking, it's a good idea to assume an older house have 15a circuits, so an M18 will be too much. Always check the breaker box to see what the amperage for the circuit is. (in the US)
  3. These are pretty old cameras and Alan Gordon only considering the S35 versions of the Alexa, but the LF/65 won't work with the optical. Plus not every digital sensor is the exact size while a phone app can actually take that into account. I highly recommend going the route of an app. 🙂
  4. You might be better off with a viewfinder app for your smartphone. Artemis is pretty popular for iOS users! Personally, I really liked this one: https://www.artistsviewfinder.com/
  5. As the sun gets closer to the horizon, the atmosphere begins to warm it up. You'll notice warmer hard light. Immediately after it sets, the sky is now providing all of the light (known as magic hour, which ironically is usually only 20 minutes or so). Most, if not all of those shots are during magic hour. There's really not much grading being done on these shots outside of adding more cold or warm tones. Judging by how soft the light is, but without actually seeing the sun clearly in one of the shots, I'd say those were filmed on a day when the sun was setting behind a thin layer of clouds effectively acting as diffusion. However, you can replicate that with magic hour and either warming up the image with white balance, in the grade, or both. 🙂
  6. PA life is hard. More often than not PA's are given a working lunch and barely have time to rest, at least in the US. My wife was working towards joining the DGA as a PA on a number of large budget projects for years. The producers would sometimes allow one meal penalty a day, but the general culture for PA's on those large budgets was that you were working from call to wrap and were required to take an hour off on your timecard regardless if you had an hour break or not. She would seldom get a full meal because PA's always ate last and almost all the food would be gone. The reality of the PA culture is that PA's are viewed as easily replaceable on big budgets and if any PA objected to the aforementioned problems, they simply wouldn't be called back. In the US, the whole show is union except for the PA's who have no representation. It's a hard, thankless, and, at times, demeaning job.
  7. Try local facebook groups to your area and also reach out to Reddit r/filmmakers!
  8. Sounds like a job for the Kino Wheels! https://www.kinowheels.com/
  9. Why would it be suspect? It's the original, and still to this day, business model of IMAX: screens so large that they extend beyond your peripherals. Because those screens are so massive, they needed a format to ensure the proper resolution and thus IMAX cameras were created. Distance from the screen and the size of the screen are major factors that need to be taken into consideration when selecting your capture format. It's why TV shows don't shoot on 70mm; what's the point?! 🙂
  10. Ah, allow me to clarify. What I meant is the viewer's distance from the screen and that screen's size. That distance determines how much resolution you need for displaying the image. There's no magic number, but at a certain screen size, it's visually imperceptible to see the difference between a film shot 480p and 16k. Yedlin covers this in those links I shared above. 🙂 It's a good 2 hour watch, but well worth it!
  11. I'll also point out that the resolving power of the final output display (ie theatre screen, TV, phone, etc) and the distance from that screen is an inherent relationship you can't discount. If most indies will only be viewed on a TV screen, then why shoot in IMAX? This chart below shows the relationship between resolution benefit and distance to screen: https://www.rgb.com/display-size-resolution-and-ideal-viewing-distance
  12. Steve Yedlin, ASC talks about the myth of a different optical look from format to format: http://www.yedlin.net/NerdyFilmTechStuff/MatchLensBlur.html He also talks about how, given post production technology today, any camera can match any camera: https://www.yedlin.net/DisplayPrepDemo/index.html Here's another from Yedlin on resolution: https://www.yedlin.net/ResDemo/index.html
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