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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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  • Occupation
    Cinematographer
  • Location
    Los Angeles, CA

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    http://www.AJYoungDP.com

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  1. Thank you! We loved how "dirty" they were; perfect fit for a post-apocalyptic movie. 🙂
  2. Hello! A feature I shot in 2017 has finally finished post-production after pick-ups last year and visual effects. I'd love to share the trailer and some frames for critique! The film is called Noise and Color, directed by Logan Stone. I shot principle photography and the pick-ups in St. Louis, Albuquerque, and Chicago. Here's the official website: https://www.cinestone.com/noiseandcolor Here's the trailer: And here are some stills: We shot the film on the Red Epic Dragon with Kowa Anamorphics (40, 50, 75) and a 1-ton GE package. What do you think?
  3. It's quite common to have multiple resumes; most of the time you design it to match the position you're applying for. As in any industry, it's tough to fill up a resume without much experience, but give it time. The key thing is to list who you've worked with in the various roles. Additionally, tailor your resume through wording that makes prior jobs relate to the one you're applying for. But, like you said, most jobs are through recommendations and resumes are somewhat of a formality early on.
  4. 1. The breathing will need to be from the lens because there's no way that adding a new aperture (the disc you're speaking of) can change that. However, you will get the oval bokeh from applying the oval disc to the rear element. To get more optical distortions, try using uncoated lenses or cheap optics. 2. If a film was shot spherical, but framed for 2.35:1 theatrical run, then the print will arrive as a 4-perf anamorphic image that was squeezed onto the print and will be de-squeezed at the projector. However, the anamorphic properties you're looking for only happen at image capture because the lens and image are not capturing light but projecting it. It'll look like this: https://www.youtube.com/watch?v=rKsG5WCGnu4
  5. Have you tried water and a squeegee? I've heard it actually works. You spray the ND Gel and window with water, then use the squeegee to apply the gel and remove any bubbles/ripples. (Obviously, you cut the gel to size)
  6. Will this be a permanent installation? Here's what I think you should do: The ability to control the output of all sources is key. Some units may be rigged up into the ceiling and accessing them will be difficult. What I recommend is building a lighting plan around the a DMX system. Essentially, you just need to purchase lights that can be controlled via a DMX connection. Most professional grade lights have DMX inputs/outputs already installed in them if the units are LED You'll need a way to control the lights via DMX and there are a few options: A traditional DMX control board is cheap on amazon DMX iPad apps - It'll require a few more expensive DMX parts like wireless DMX The reason you'll want to control the output of all sources is because working with white cyc's involves ratios. You'll want the white background to reach a certain IRE so that it looks white (or is actually white). If you're in a pinch and your camera is at a decent ISO with fast lenses, you can keep your background lights at 100% and reduce your key to 50%. This will definitely blow the background out to white while giving you a great key light It's reasonable to expect some post work with the white cyc. Certain areas of the floor, particularly where the subject is standing, will still underexpose because of the subject's shadow. An increase of contrast, lifting of highlights, etc will fix the problem. Distance from your subject to the white cyc is key. Too close and you'll get a lot of spill from the white or the actual background light illuminating the subject instead of the key light. The white ground can act as an excellent fill, but I'd have solids ready to control contrast such as 4x4 floppies, T-bone 8x's, etc. Color temperature needs to be consistent across the board. Tungsten, Daylight, it doesn't matter. Just keep it the same. *If color accuracy is your goal, then shooting with actual tungsten units (not LED) will yield the highest CRI. However, the trade off is physical heat and the need for a lot of power. Since you mentioned using photography, there may be the need for high speed photography or video. If that's the case, high output lights like HMI's may be your best choice. I live in Burbank, so if you're interested in hiring for consulting on this project or installation, shoot me an email: AJYoung.DP@gmail.com
  7. Outlier here, but I have a few good gaffer friends here in LA who run their own GE rental company and investing in Skypanels has been the best decision they could have made. Of course, these guys are renting out 3-ton packages, but if you're going to invest, a Skypanel will be requested often. You may be a one-man band right now, but an investment lasts longer than a year, so you'll eventually get gigs with more crew and you'll be happy to own a Skypanel. I agree that they're cumbersome and huge, but honestly it's one of the best LED's out there, especially if you're growing a GE business.
  8. Nah, you're CP2 will become even more valuable because it has optical imperfections that narrative projects love.
  9. It's totally fine, and completely normal, to rent a higher end camera, but to own one is the option I'd recommend avoiding.
  10. What will stop them will be the union. Haha One thing that won't change with IATSE are union rates being slashed and union members being forced out of the business.
  11. Sounds like you already figured it out! Backlight and edge light is all about ratio's. How bright your background, key, and edge/back will determine the edge/back's effectiveness. Quality of light will only determine if the edge/back will have a hotspot or not. Soft edge/back lights have no hotspots while hard edge/back lights have a hotspot. (Also, if you're hard light edge/back is too bright, putting diffusion on it will actually slow it down faster than dimming it) The still you posted from Shutter Island was shot by Robert Richardson who often uses a strong backlight and bounce card combo (I believe known as a fire starter?). He uses a really bright backlight and bounces in the key from the backlight. I did this on a feature recently and it turned out great: --- I agree with Satsuki that halation makes these punchy backlights look great. Some lenses naturally have halation like vintage or uncoated lenses.
  12. It's completely fair to want an easier time in post with color science that looks good out of the box (ie ARRI), but an expensive camera does equal more work in regards to other things you'll have to do. (I know you mean more jobs, haha) In my experience, all cameras have their problems (yes, including ARRI) and upgrading will solve old problems and introduce new problems. It sounds like you're wanting a smoother post-production process with your color science, so I'd recommend a few things before shelling out for a new camera: Incorporate ACES into your color work-flow The Academy Color Encoding System was developed by AMPAS (Oscars) to standardize and simplify the color science of all cameras. It's tricky to understand at first, but its strengths are in unifying all aspects of post-production, archival, and consistency. Use external recorder's for higher bit depth and bit rates Atomos, Convergent Design, Video Devices, etc. These companies have excellent external recorders that receive an uncompressed signal from your camera and then record it as a high fidelity codec (mostly ProRes 422, but some can do higher codecs or RAW) --- I would like to add that the rental game today is a losing battle if you don't have capital to keep up with new technology demands. There's always a new camera every 6 months and everyone will want to shoot on it. Bigger markets like LA/NYC are totally viable options for owner/operators, but smaller markets are usually dominated by a one/two rental houses and one/two owner/operators. It's not a bad idea to own a camera like a Panasonic GHx or a Sony A7x, but once you enter the EVA-1, FS7, or C200 realm, you're going to have to determine if your return on investment will pay off given the work you're currently receiving, the potential for new work, and the potential for competition. Good luck on what you decide!
  13. I think situation around WGA/ATA is completely on topic for us because the outcomes will directly affect DP's. If this becomes a new normal for agencies, what's stopping the agents for DP's from doing the same?
  14. Modern Inventors? As in still alive? Garrett Brown. The steadicam! Johan Hellsten. The easy rig! Howard Preston. Someone beat me to it, but nonetheless on the list! Mark Roberts Motion Control. The Bolt Arm! George Lucas. Digital editing. 3D animation. Digital cameras. Did he actually invent these? Not entirely, but he ushered these tools into existence the same way Steve Jobs ushered in the iPod, iPhone, etc.
  15. What will the next technology trend be in the film industry? If anyone knew the answer, they would become filthy rich! Hopefully I can strike it big! Dual Native ISO's. Started by Panasonic, now embraced by Sony and Red. Will ARRI and Canon follow suit? New standard lens mount. ARRI introduced the LPL which has a wider diameter (64mm) and shorter focal flange distance (44mm). However, I don't think this mount does enough. A focal flange of 20mm would be more ideal for the ability to mount focal reducers (Metabones for example) and will open up the ability to mount any lens from history. The L-Mount from Leica is being adopted by Panasonic and has that short focal flange (20mm), but it's diameter is 51.6mm. Judging by these two mounts, someone is going to make a mount that is a happy medium. Sharp LED's. Right now, people gush about RGB LED's and units with larger and larger panels. But what happened to the single source light? Seldom do DP's light everything with soft light and there is a severe lack in quality Fresnel/Ellipsoidal/PAR LED's that match the versatility and color fidelity of Sky Panel/Quasar/DS/etc. Punchy LED's. By punchy, I mean bright. An LED light that has the same output and size of a Joker 1600 with the same color fidelity as a Sky Panel? Ooooo boy, sign me up. ACES. It's chugging along and people are adopting this wonderful way to standardize the color grade. The sooner DP's and colorists embrace this, the better the technology will grow and our industry will largely benefit from it. Archival Replacement. Currently, the only sure fire way to guarantee archival of a movie for at least 100 years is printing it to 4 perf 35mm film. However, film prints take up a lot of space, are bad for the environment, and are still prone to being the only copy of something if god forbid the building burns down. (See Universal Studios fire destroying recordings). If anyone can figure out a way for digital archival that has continuous back-up and backwards compatibility with the numerous ways a film can be recorded all while making it viewable decades and centuries from now, then they'll be doing a service to humanity. Side note: ACES is attempting to do this via color science. Its the physical storage that's tripping everyone up HDR Camera. I dabbled with this in college, but couldn't get through the R&D phase. Anyone who can create an HDR process on production and in post will introduce the world to a camera with the quality of the human eye. What do I mean? Take the 3D rigs we saw in the late 2000's and early 2010's. They mount two cameras and use a beam splitter to project the image onto two "eyes". One could utilize this method to record the same exact image onto two camera's, but one is over exposed by 5 stops and the other underexposed by 5. In post, you then use a program that combines the two images into an HDR image (the overlap in exposures combine together, filling in the gaps from the over/under exposure) and voila! You've got an image with 10 more stops of dynamic range. The above process is crude, so if a camera company simplifies the process into the camera body, with only one lens, and minimal software, then they'll have THE most desirable camera. What about other industry trends? Here I go! Fewer Studio Films. Already taking place, but the studios are going to put out less and less movies and focus more on blockbuster budget films. Don't believe me? Compare the amount of movies released by all studios this year (2019) to ten years ago (2009). AMC is already trying to combat this by introducing the AMC Artisan Films program to encourage lesser known movies. Movie Theatre Subscription. Started by Movie Pass and carried on by AMC. Where MP failed, AMC succeeded and continues to run their program to this date. Now Regal is getting in on the action while Cinemark has already been doing it. It's actually a viable option for theatres to introduce a subscription model. Those who do use the programs are MORE likely to watch a movie than before and are MORE likely to buy concessions. Holy poop, it worked! Industry Wide Strike. The WGA is currently making the news, but the growing anger over the working conditions in the film industry will reach a tipping point. Soon? Not sure, but movements like WDMV (https://www.wedirectmusicvideos.com/) and the shouldn't-be-forgotten beef between Haskell Wexler and 600 should be indicators that something is on the horizon. Gig Economy Rules. For those who work in the US, most early gigs and non-union jobs don't use a payroll company and instead pay via check and classify their cast/crew as contractors. We've gotten used to saving money from our checks for taxes later in the year, but a bill working through California to address Uber/Lyft drivers will actually directly affect non-union cast/crew. (https://www.vox.com/policy-and-politics/2019/5/30/18642535/california-ab5-misclassify-employees-contractors) But I don't live in California! You better keep an eye on this, because Uber/Lyft will fight this bill up to the Supreme Court and the decision WILL affect you Vertical Video Will Live. Instagram TV and Snapchat are already releasing content shot in 9:16. Think it sucks? Cool, that means more work for others. What do I think SHOULD be a trend? Animation DP's should get recognition. Sharon Calahan, ASC is a great start, but there are so many more people who do amazing cinematography in animated films. Stunts Oscar Category. WHAT A GREAT WAY TO IMPROVE RATINGS ON THE OSCARS BY HONORING STUNTS IN FILMS. Just my thoughts! I'll check this post in 10 years to see if I got anything right. 🙂
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