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AJ Young

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AJ Young last won the day on May 9

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About AJ Young

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  • Birthday 01/13/1990

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    Cinematographer
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    Los Angeles, CA

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    http://www.AJYoungDP.com

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  1. Here's my experience: Camera prep is the most important thing you can do. Everything needs to be wireless: iris, focus, zoom, video, run/stop, playback, etc. If you're missing on piece (ie a certain cable), then you'll struggle to keep those wireless features up and kill your time. So, make sure you've done a thorough camera prep. Lens wise, zooms work best when chasing a car, in my experience. Seldom are onboard batteries attached to the camera; the arm-rigs for cars I've worked with have built in Lemo/XLR/D-Tap connections that power the camera and AKS. The camera is then powered via block batteries in the vehicle or by the vehicle itself (depending on the specific company you're working with). Additionally, those same Lemo connections on the arm rig also control a FIZ + run/stop. A clamp on mattebox will fall off. Get a rod based one. The jib op, cam op, and driver have to be in unison with each other. Otherwise you'll have tons of trouble. The best trio have worked together frequently. Shoot at a deep stop. The picture car moves fast and a shallow depth of field will make everything look soft Good luck and be safe!
  2. I see, that's definitely a bigger boat. (🦈) This is above my experience level now, but here's an idea: Dock the two boats and then mount an small boat engine or two to a dock "ahead" of the two boats. Run those engines to create a wake and hopefully enough water flows between the two boats that it can imply they are moving. This may be more believable at night. I'm basically approaching this stunt with a poor man's process perspective. The boats never move, you'd just move the water with a mounted boat engine.
  3. The camera will chew through the 98wh quickly. Usually the 4:3 plus is powered via a block battery or shark-finned AB/V-mount. It won't fit in carry-on, you'll have to check it. It will most likely be over-weight It's heavy. If you want to go down this route, make sure to get a VCT Plate for easy attach/detach from the tripod. Totally possible. Once it's built up, the camera is easy to use. Same menu system as all the other Alexa cameras: simple and straightforward. It's a heavy camera, so it'll need an equally strong tripod and head to hold it up. Your camera rig rises in complexity with the 4:3 plus which may be too complicated to use as a one-person band and ultimately depends on your bandwidth. Personally, I'd recommend against it if you'll be doing one-person band work.
  4. How big of a boat(s) are you talking about? I shot a canoe sequence for a $500k feature with a private indoor pool: If you're talking two row boats, then you could in theory do it with a private pool of the size I used. Small, private locations aside, this company seems legit: https://www.filmpools.com/
  5. Have a great time with the movie! Share your experience when you're done!
  6. You may be splitting hairs, but LED's are always cooler. If you want to go with an M18, then go for it. But, if heat is a concern, then eliminate that factor with LED. 🙂 Either option you suggested for lens will work. Diffusion on top will work; it'll create an even light, though. If you're looking for something different, you could just seal it with plexiglass and have a clear window for your light.
  7. @Daniel O'Flaherty My pleasure! The downside to Red cameras are their poor performance in low light compared to cameras of the similar price range (excluding the Gemini's dual ISO). This is simply because so many photosites are packed into the sensor to reach the resolutions their known for. However, if the Helium is all that you have available, then push it to 2000 ISO. You'll have to make it clear to your director and producers that there will need to be denoising in post. Luckily, denoising is fantastic today with programs like "Neat Video". I cranked up the ISO on a Dragon sensor to 3200 and was able to save the footage with Neat Video. You couldn't tell the difference between base ISO and the cranked ISO. HMI's are actually quite hot; they tend to melt gels faster than tungsten. Hell, I even cracked a mirror with an M18 one time after it was shooting through it for an hour. Needless to say, if heat is an issue at all you'd better go with LED. Lens wise, all of the options you listed will be fine. You're shooting at a pretty deep stop; even the cheapest of lenses will look good when you're shooting at T11. 🙂
  8. I'd recommend looking into the Sony Venice. It has dual ISO (500 & 2500 Base ISO), can record 120fps at 4k, and the image gives the Alexa a run for its money. Honestly, a lot of productions are starting to shoot on the Venice because it's a good camera. The Alexa actually doesn't seem like a good option for this job because it sounds like you'll need to keep your light levels low. If you're dead set on using Red, I'd recommend the Gemini because it too offers dual ISO (800 & 3200 Base ISO). Since RED cameras can crop in on the sensor, you could use S16 lenses and shoot the camera in a cropped mode to gain the wider depth of field. I don't believe the camera can record faster than 96fps at 5k, though. (But it also can record higher frame rates the more you crop in on the sensor!) Lighting wise, cheap LED's will most likely flicker at the high frame rate. I'd recommend Digital Sputniks (hard light) or Skypanels (soft light). --- Alternative idea: have you thought about using infrared light? BBC did it for Planet Earth (~1:56): Of course, you'll lose color which could be a deal breaker. MORE ALTERNATIVE IDEA: You could also use machine learning to color the monochrome infrared footage! One example of machine learning colorization: https://deoldify.ai/
  9. Here's a question regarding artistic choice: do you need to see out of the window? Of course it adds depth, but there are tons of examples of just blowing out the windows, covering them with drapes/curtains, the windows are so dirty you can't see any details, etc etc etc. Deakins did it on Bladerunner (link, you'll have to log in to view) and it looked great. What are everyone's personal reasons for/against this? Of course, it depends on the look/style of the film.
  10. Do you have some pictures? I'd love to see this!
  11. Though we're talking about daytime interior scenes, Steve Yedlin, ASC shot day for night interiors by heavily gelling the windows and shooting during the day. I believe he used a hard gel? Not sure exactly what it was, but the result was obviously stellar: Food for thought regarding gelling windows! 🙂
  12. As I'm sure you know, matteboxes come in two flavors: clamp on and rod based. If you're using a clamp on mattebox, then you only need to make sure there's enough space between the rods and lens. If you're using a rod based mattebox, then make sure you use one whose height can be adjusted. (Most can) Joseph's chart is definitely the goal, but if you're DIYing it then get as close as you can. Clamp on matteboxes give you the most wiggle room
  13. Outside suggestion, but depending on what your final product is, you could also play around with your camera's dynamic range. If you're delivering in Rec709/P3, then you could get away with underexposing the camera and bringing it back up in post. It'll be noisy, but you can clean that up and get extra info in your highlights. You can't do just this alone, but it'll give you some more play in the color grade.
  14. Roger Deakins, ASC's website (http://www.RogerDeakins.com) has a free members only section that shows a lot of his lighting diagrams for his films.
  15. Definitely. They're modular, so you can connect three to six together. They start to look like small Maxi-brutes and are quite powerful.
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